KXH IBITION 

O 

EARLY  AMERICAN 
PAINTINGS^ 

MUSEUM 
.    ,  OF  THE 

B.ROOKUYN  INSTITUTE 


ARTS  AND  SCIENCES 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 
LOS  ANGELES 


EXHIBITION  OF 
EARLY   AMERICAN    PAINTINGS 


EARLY  AMERICAN 
PAINTINGS 


CATALOGUE  OF  AN  EXHIBITION 

HELD  IN  THE  MUSEUM  OF  THE 

BROOKLYN  INSTITUTE  OF 

ARTS  AND    SCIENCES 


BROOKLYN 

FEBRUARY  3d  TO  MARCH  12th 

1917 


COPYRIGHT,     I9I7 
BY  THI-:    MUSEUM   OK  THE    BROOKLYN 
INSTITUTE     OF     ARTS    AND     SCIENCES 


The  edition  of  this  catalogue  is 
limited  to  five  hundred  copies  of 
which  this  is  No.  ^{jiJ 


THE 

BROOKLYN  INSTITUTE  OF  ARTS  AND 

SCIENCES 

OFFICERS    OF    THE    BOARD 

A.  Augustus  Healy  President 

George  D.   Pratt  First  Vice-President 

Horace  J.  Morse,  Second  Vice-President 

Walter  H.  Crittenden  Third  Vice-President 

Herman  Stutzer  Secretary  and  Acting  Treasurer 

the  museum  governing  committee 

Walter  H.  Crittenden,  Chairman 

Samuel  P.  Avery 

Frank  L.  Babbott 

EDVi'ARD  C.  Blum 

George  W.  Brush 

Luke  Vincent  Lockwood 

John  Hill  Morgan 

George  D.  Pratt 

William  A.  Putnam 

Herman  Stutzer 

A.  Augustus  Healy,  ex-officio 


the  exhibition  committee 

John  Hill  Morgan,  Chairman 
Luke  Vincent  Lockwood 
Walter  H.  Crittenden 

A.  Augustus  Healy,  President,  and 
William  Henry  Fox,  Director,  ex-officio. 


THE    department    OF    FINE    ARTS 

William  Henry  Goodyear,  Curator 
A.  E.  RuEFF,  Assistant  Curator 


Art 

Library 


11G07S0 


EARLY   AMERICAN 
PAINTINGS 


CONTENTS 

ARTIST  SUBJECT  PAGE 

Ames,  Ezra,  early  nineteenth  century 

1  Governor  George  Clinton I 

2  Mrs.  James  King 2 

Badger,  Joseph,  1708-1765 

3  Captain  John  Larrabee 3 

Beard,  James  Henry,  i8  14-1893 

3a  President  William  Henry  Harrison 3a 

Birch,  Thomas,  1779-1851 

4  The  Constitution  and  the  Guerriere 4 

5  The  United  States  and  the  Macedonian 5 

6  The  Wasp  and  the  Frolic 6 

Blackburn,  Jonathan,  ca.  1700-ca.  1765 

7  Mrs.  Joshua  Babcock 7 

Copley,  John  Singleton,  1737-1815 

8  Adam  Babcock 8 

9  Mrs.  Adam  Babcock 9 

10  Mrs.  John  Bacon lo 

11  Mrs.  Joseph  Barrel! il 

12  Mrs.  Joseph  Barrell 12 

13  Mrs.  Ben.  Davis 13 

14  Mrs.  Isaac  Holmes 14 

15  John  Bee  Holmes        15 

16  Jonathan  Mountfort 16 

17  James  Murray 17 


CONTENTS 


Copley,  John  Singi.kton  (Continued) 


ARTIST                                                        SLBJtCT  PACE 

^    Colonel  Epes  Sargent .18 

19  Daniel  Crommclln  V'erplanck       ....  '9 

20  The  Death  of  the  Earl  of  Chatham  (Study)     .  .20 

21  The  Death  of  Major  Pierson  (First  sketch  for)  .21 

DuNLAP,  William,  1766-1839 

22  Robert  Snow 22 


DURAND,   ASHER    BrOWN,    1796-1886 

23  Mrs.  Winfield  Scott 23 

Earl,  Ralph,  1751-1801 

24  Mrs.  Charles  Jeffery  Smith 24 

EicHHOLTZ,  Jacob,  1776-1842 

25  Mary  Justice  Cooper         25 

26  William  Heathcotc  De  Lancy 26 

27  John  Howard  Payne 27 

Elliott,  Charles  Loring,  1812-1868 

28  General  John  C.  Fremont 28 

Feke,  Robert,  ca.  1750 

29  Pamela  Andrews 29 

Hail,  George  Henry,  1825-1913 

30  I'ortrait  of  the  .-Xrtist 30 

Harding,  Chester,  1792-1866 

31  Daniel  Boone 31 

32  Edward  Hutchinson  Robbins 32 

Healy,  George  Peter  Alexander,  1808-1894 

33  Moses  Pond 33 

Hesselius,  Gustavus,  1682-1755 

34  The  Last  Supper 34 

Huntington,  Daniel,  1816-1906 

35  President  Martin  Van  Buren 35 

36  The  Sketcher  (Mademoiselle  Rosina) 36 


EARLY   AMERICAN    PAINTINGS 

ARTIST                                                       SUBJECT  PAGE 

Inman,  Henry,  1802-1846 

37  Fanny  Kemble  Butler 37 

38  Rev.  Henr>'  Croswell         38 

39  William  Inman jg 

40  Mrs.  Robert  Lovvden         40 

41  President  James  Madison 41 

42  Hezekiah  Beers  Pierrepont 42 

43  View  of  Rydal  Water 43 

Jarvis,  John  Wesley,  1780-1834 

44  Colonel  James  Burn 4^ 

45  Governor  De  Witt  Clinton ^^ 

46  Colonel  William  Croghan 46 

47  Lucy  Clark  Croghan 47 

48  Peter  Augustus  Jay 4S 

Leslie,  Charles  Robert,  1794-1859 

49  Portrait  of  a  Lady .jg 

Marchant,  Edward  D.,  1806-1887 

50  President  William  Henrj'  Harrison 50 

Morse,  Samuel  Finley  Breeze,  1791-1872 

51  President  John  Adams 51 

52  Moss  Kent 52 

53  Marquis  de  La  Fayette 53 

54  Stephen  Mi.\  Mitchell 54 

55  Hannah  Mitchell  (Mrs.  S.  M.  Mitchell) 55 

56  Susan  Walker  Morse  (Known  as  "The  Muse") 56 

Neagle,  John,  1799-1865 

57  Levi  Dickson 57 

58  Sergeant  Andrew  Wallace 58 

Otis,  Bass,  i 784-1861 

59  President  William  Henry  Harrison 59 

Peale,  Charles  Willson,  1741-1827 

60  Captain  Robert  Allen         60 

61  Mrs.  G.  Bell 61 


CONTKNTS 

Peale,  Charles  Willson  (Continued) 

ARTIST                                                       SfBJFCT  PAGE 

62  Colonel  Trnch  TiJKhman  ....  ....  ...       62 

63  Gcorgf  Washington  (Bust)     ...  .      .  ....       63 

64  George  Washington  (Full-length)  64 

Peale,  James,  i 749-1 831 

65  James  Hamilton  6; 

Peale,  Rembrandt,   1778-1860 

66  President  William  Henry  Harrison 66 

67  William  Hill ...       67 

68  Mrs.  William  Hill .68 

69  Chief  Justice  John  Marshall 69 

70  George  Taylor .      .       70 

71  George  Washington .71 

72  George  Washington  (Port-hole  type) .72 

Pine,  Robert  Edge,  1730-1788 

73  General  Horatio  Gates 73 

74  General  Henry  Lee .74 

75  George  Washington 75 

76  Mary  Ball  Washington .      .  76 

Pratt,  Matthew,  i 734-1 805 

77  Mrs.  Peter  De  I.anccy .        77 

Saint-Memin,  Charles  Balthazar  Jllien  Fevret  de,  1770-1852 

78  James  Campbell 78 

79  Theodore  Gourdin 78 

80  Seth  Hastings 78 

81  A  Philadelphia  Gentleman 78 

Savage,  Edward,  1761-1817 

82  General  Henr>-  Knox         79 

Sharples,  James,  ca.  1751-1811 

83  Dr.  ?:iihu  Smith 80 

84  Dr.  Reuben  Smith 80 

85  Charlotte  Tabb 80 

86  Emory  Tabb 80 

87  George  Washington  (profile)         80 

88  George  Washington  (full-face) 80 


EARLY   AMERICAN    PAINTINGS 

artist  subject  pace 

Smibert,  John,  1688-175  i 

89  Alexander  Garden 8l 

Stuart,  Gilbert,  175 5-1 828 

90  Colonel  Isaac  Barre 82 

91  Captain  John  Chestnut 83 

92  Lady  Frances  Erskine 84 

93  General  Peter  Gansevoort 85 

94  Thomas  B.  Law 86 

95  Mrs.  Thomas  B.  Law        87 

96  President  James  Madison ...  88 

97  Judge  Thomas  McKean 89 

98  Samuel  Myers 90 

99  Captain  Richard  Pearson  .91 

100     Colonel  William  Stephens  Smith 92 

loi     George  Washington  (.•\thenaeum  type)         93 

102  George  Washington  (Vaughn  type)         94 

103  George  Washington  (Lansdowne  type) 95 

104  John  Watts,  Sr 96 

Sully,  Thomas,  1783-1872 

105  Captain  William  Chamberlain 97 

io6     Mrs.  William  Chamberlain 98 

107  Elizabeth  Cook  (Mrs.  B.  F.  Bache) 99 

108  Joseph  A.  Dougan 100 

109  Theodore  Gourdin loi 

no    John  Hogg         102 

111  Lieutenant  William  Henry  Korn 103 

112  Hannah  Seagraves  Reeves 104 

113  The  Spanish  Mantilla 105 

113a  Jane  Cooper  Sully 106 

Sully,  Thomas  Wilcocks,  Jr.,  1811-1847 

114  President  John  Tyler         107 

Trumbull,  John,  1756-1843 

115  William  Brown Io8 

116  Governor  George  Clinton 109 

117  Alexander  Hamilton          no 


CONTENTS 

Trumbli.1.,  John  (Continued) 

ARTIST                                                       SUBJECT  PACE 

Ii8     Ralph  Kirkley iii 

119  Pttcr  Lanman  ....                                               112 

120  Mrs.  Peter  l.anman                                           113 

121  Sortie  from  Gibraltar  .      .                       114 

Vanderlvn,  John,  1755-1852 

122  Colonel  Moses  Thomas 115 

123  Sampson  V.  S.  Wilder 116 

Waldo,  Samuel  L.  1783-1861 

124  Mrs.  Sampson  V.  S.  Wilder 117 

125  William  Steele 118 

126  Mrs.  William  Steele 119 

127  Joseph  Moss  White 120 

128  Portrait  of  an  Unknown  Gentleman 121 

Wertmullkr,  Adolk  UiRic,   1749-1812 

129  .Andrew  Hamilton,  IVth 122 

130  Mrs   .\ndrew  Hamilton '23 

131  Portrait  of  the  .Artist         124 

West,  Benjamin,  1738-1820 

132  Dr.  Enoch  Edwards 125 

133  American  Peace  Commissioners,   1  rtaty  of  1782 126 

Winstanley,  William,  Late  eighteenth  century 

134  President  John  Adams 127 

Woolaston,  John,  ca.  1750 

135  Portrait  of  a  Gentleman,  thought  to  be  Lawrence  Washington    ....  128 

Unknown  Artists,  eighteenth  century 

136  Major  John  Dies '29 

130 

'.^2 
'33 


137  Mrs.  John  Dies 

138  Johannes  Panet 

139  Anna  Maria  Panet 

140  Frances  Peyton  Tabb 


EARLY   AMERICAN 
PAINTINGS 


FOREWORD 

THE  object  of  this  Exhibition  of  American  paintings  is 
to  represent  chronologically,  as  far  as  that  may  be 
possible,  the  advance  of  the  art  of  painting  in  this 
country  between  1750  and  1850.  These  dates  are  merely 
indicative  of  the  period  displayed  and  are  not  intended  to  limit 
too  closely.  All  of  the  artists  represented  were  not  of  American 
birth  nor  was  every  canvas  painted  on  this  side  of  the  Atlantic, 
but  each  is  so  intimately  connected  with  our  country  in  one 
way  or  another  that  a  place  on  our  walls  is  justified.  The 
division  of  these  painters  into  three  groups  is  purely  arbitrary 
and  made  for  convenience. 

I 

PRE-REVOLUTIONARY    GROUP 

Settlements  in  a  new  land  would  naturally  be  made  at  or 
near  the  mouth  of  a  river  and,  as  population  increased,  follow 
the  line  of  least  resistance  back  from  the  sea.  This  course 
would  leave  wide  stretches  of  wilderness.  Roads  there  were, 
but  previous  to  1750  there  was  little  communication  between 
the  colonies  and  that  largely  by  water.  Conditions  being  rude 
and  severe,  and  travel  difficult,  it  followed  that  unusual 
development  in  one  line  was  slow  in  reaching  another  colony, 

i 


FOREWORD 

if  at  all,  and  while  there  are  some  slight  traces  of  painters  in 
New  England  and  Pennsylvania  before  1700,  the  art  in  Amer- 
ica may  not  be  said  to  begin  before  the  first  quarter  of  the 
eighteenth  century.     One  writer  says: 

"Particularly  in  New  England  the  early  colonists,  who  came 
of  one  of  the  least  artistic  races  of  Europe,  were  themselves 
largely  the  least  artistic  of  their  race.  Few  came  from  the 
classes  of  society  which  had  the  wealth  and  the  leisure  to  com- 
mand the  enjoyment  of  works  of  art,  and  the  leaders,  as  well 
as  the  masses,  cultivated  a  form  of  piety  which  on  the  whole 
was  naturally  rather  abhorrent  of  art  as  a  frivolous  amuse- 
ment."' 

It  is  probable  that  especially  in  the  South,  there  were  many 
itinerant  portrait  painters  in  the  last  decades  of  the  seven- 
teenth century,  who  traveled  from  plantation  to  plantation, 
or  city  to  hamlet,  exercising  their  crude  art  for  a  precarious 
living,  but  their  names  have  been  mostly  forgotten  and  their 
handiwork  destroyed.     Tuckerman  notes  that 

"Cotton  Mather,  in  his  'Magnolia,'  speaking  of  the  aversion 
of  John  Wilson  to  sit  for  his  portrait,  says:  'Secretary  Rowson 
introduced  the  limner' — showing  that  there  were  limners  in 
Boston  in  1667."  = 

It  is  true  that  some  of  the  wealthy  planters  of  the  South 
went  "home"  or  sent  their  children  to  be  educated  in  England 
and  a  few  examples  of  English  portraits  then  painted  still  exist. 
There  is  recorded  a  list  of  paintings  and  portraits  by  European 
masters  owned  in  this  country  before  the  Revolution,'  but  it 


'  "Robert  Feke,  The  Early  Newport  Portrait  Painter,  and  the  Beginnings  of  Colonial 
Painting  "  by  William  Carey  Poland,  page  4. 
-  "Beiok  i>f  the  Artists,"  page  7. 
'  Ibid,  pages  43-44. 

ii 


FOREWORD 

is  difficult  to  state  how  many  of  the  attributions  would  stand 
the  higher  criticism  of  to-day,  and  in  New  England,  at  least, 
there  were  few,  if  any,  pictures  to  stimulate  the  art  of  painting 
until  Smibert  brought  his  own  copies  to  Boston  in  1730.  Few 
artists  had  more  than  a  local  clientele.  Here  and  there  a 
"limner"  succeeded  in  obtaining  a  foothold  and  his  name  may 
survive  in  an  example  now  banished  to  the  dark  corner  of 
some  local  historical  society,  but  ot  an  organized  progress  of 
art  there  was  none. 

To  GUSTAVUS  HESSELIUS  (1682-1755),  a  Swede,  must 
be  given  the  honor  of  having  the  first  record  as  a  painter  which 
may  be  said  to  emerge  from  tradition,  and  also  of  having 
received  the  first  commission  known  to  have  been  executed  in 
this  country.  On  September  5,  1721,  he  was  employed  "to 
draw  ye  history  of  our  Blessed  Savior  and  ye  Twelve  Apostles 
at  ye  Last  Supper"  for  the  altar  of  St.  Barnabas'  Church, 
Queen  Anne  Parish,  Maryland.  The  price  of  £17  was  paid  on 
November  26,  1722,  for  this  altar  piece.  The  church  was 
destroyed  in  1773  and  all  trace  of  the  painting  lost  for  many 
years. 

The  history  of  "The  Last  Supper,"  No.  34,  is  given  in  the 
appropriate  place  in  this  catalogue  and  the  picture  exhibited 
in  the  belief  that  it  is  the  lost  work  of  Hesselius. 

We  owe  to  JOHN  SMIBERT,  sometimes  written  Smybert 
(1688-175 1)  a  Scotchman,  a  debt  of  gratitude,  for  Verplanck 
is  quoted  as  saying  "the  best  portraits  which  we  have  of  the 
eminent  magistrates  and  divines  of  New  England  and  New 
York,  who  lived  between  1725-1751,  are  from  his  pencil. "< 
The  record  of  his  life  is  to  be  found  in  Walpole's  "Anecdotes 


*"Arts  of  Design  in  the  United  States  "  by  William  Dunlap,  Vol.  I,  page  27. 

lii 


FORl-WORU 

of  Painting  in  England,"  which  records  that  he  joined  the 
fantastic  scheme  of  Dean  afterwards  Bishop  Berkeley,  who 
came  to  America  set  with  the  purpose  of  erecting  a  universal 
college  of  science  and  arts  in  the  Bermudas  "for  the  instruc- 
tion of  heathen  children  in  christian  duties  and  civil  knowl- 
edge." Smibert  reached  Newport,  Rhode  Island,  in  January, 
1729,  and  the  plan  of  the  good  Bishop  having  failed,  finally 
settled  in  Boston,  where  he  died  in  1751.  lie  is  chieHy 
remembered  by  his  portrait  of  Bishop  Berkeley  and  iiis  com- 
panions, wliich  now  hangs  in  the  "Cnmmons"  Hall  of  "^'ale 
University. 

Some  authorities  state  that  Smibert  was  the  master  of 
Copley,  but  it  is  probable  that  it  was  by  the  example  of  his 
work,  and  not  by  actual  instruction,  for,  as  has  been  pointed 
out,  "Smybert  .  .  .  brought  to  this  country  casts,  drawings, 
prints,  and  many  copies  of  old  masters.  Copley  was  fourteen 
years  of  age  at  the  time  of  Smybert's  death  in  1751  and  he 
must  have  derived  great  benefit  from  seeing  the  copies  made 
by  Smybert."*  Allston  also  speaks  of  the  influence  which 
Smibert's  copies  of  foreign  pictures  made  upon  him  and 
records  his  gratitude  for  the  instruction  which  his  work  gave 
him.     No.  is  89  from  Smibert's  brush. 

JONATHAN  BLACKBURN  [1700^-1765),  another  New 
England  artist,  deserves  a  place  in  this  group.  Very  little  is 
known  of  his  life.  It  has  been  suggested  that  he  was  the  son 
of  'an  itinerant  painter  and  Jack-of-all-trades,  Christopher 
B.  Blackburn,"  and  that  he  was  born  in  Wethersfield,  pos- 
sibly about  1700.*  We  know  that  he  was  painting  portraits 
in  Boston  from   1750  to   1765,  after  which  date  information 


'"John  Singleton  Copley"  by  Frank  W.  Baylcy,  page  6. 
'"Art  and  Artists  of  Connecticut"  by  H.  B.  French,  page  30. 


IV 


FOREWORD 

ceases.  "The  Proceedings  of  the  Massachusetts  Historical 
Society"  for  1878-9  record  fifty  portraits  attributed  to  him. 
No.  7  is  an  example  of  this  artist. 

Recent  research  into  the  life  of  ROBERT  FEKE,  while  it 
has  destroyed  most  of  the  traditions  which  had  grown  up 
around  his  name,  has  added  little  to  the  sum  of  our  positive 
knowledge.  We  know  that  he  was  the  son  of  a  Baptist 
minister  of  Oyster  Bay,  Long  Island — Robert  Peeks  (sic) — 
and  that  he  may  have  been  in  Newport  as  early  as  1729  from 
a  subscription  made  by  one  of  that  name  to  rebuild  a  Baptist 
church  in  New  York.  We  know  that  he  married  Eleanor 
Cozzens  in  Newport  in  1742,  and  painted  the  portrait  of  the 
clergyman  who  performed  the  ceremony — Rev.  John  Cal- 
lender.  We  know  that  he  worked  in  Newport,  New  York  and 
Philadelphia  and  that  but  little  of  his  work  has  survived. 
Other  known  portraits  are  those  of  Charles  Apthorp  and 
his  wife,  Ralph  Inman  and  his  wife,  Mrs.  Charles  Willing 
and  Tench  Francis,  both  dated  1746,  the  Rev.  Thomas 
Hiscox,  Mrs.  Joseph  Wanton,  his  own  portrait  and  that  of 
his  wife  in  the  possession  of  his  descendants  in  Providence, 
and  the  portraits  of  Governor  James  Bowdoin  and  his  brother, 
William  Bowdoin,  and  their  respective  wives,  which  are  per- 
haps the  best  known  examples  of  his  work.^  His  earliest 
known  painting,  the  portrait  of  Isaac  Royal  and  his  family  is 
signed  "Finished  Sept.  15,  1741,  by  Robert  Feke."  Feke  is 
said  to  have  died  at  the  age  of  forty-four*,  but  no  authentic 
information  of  his  birth  or  death  has  been  found.  An  interest- 
ing sidelight  upon  his  life  appears  in  the  following  excerpt 
from  Hamilton's  Itinerarium,  which  is  a  narrative  of  a  journey 


'  Digested  from  pamphlet  on  Robert  Feke  by  Dr.  Poland. 
'  Historical  Magazine,  1 860,  page  20. 


FOREWORD 

made  by  a  Dr.  Alexander  Hamilton.  Of  the  happenings  of 
Monday.  July  i6,  1744,  a  day  spent  in  Newport,  Dr.  Hamilton 
writes: 

"He  carried  me  to  one  Keake,  a  painter,  the  most  extra- 
ordinary genius  ever  I  knew,  for  he  does  pictures  toierabl)'  well 
by  the  force  of  genius,  having  never  had  any  teaching.  I  saw 
a  large  table  of  the  Judgment  of  Hercules,  copied  by  him  from  a 
frontispiece  of  the  Earl  of  Shaftesbury's,  which  I  thought  very 
well  done.  This  man  had  exactly  the  phiz  of  a  painter,  having 
a  long  pale  face,  sharp  nose,  large  eyes — with  which  he  looked 
upon  3'ou  steadfastly, — long  curled  black  hair,  a  delicate  white 
hand,  and  long  fingers."' 

The  picture  of  Pamela  Andrews,  No.  29,  is  said  to  represent 
the  heroine  of  Richardson's  novel,  and  depicts  "the  fair  sub- 
ject dressed  as  a  servant  on  the  eve  of  her  romantic  marriage."'" 

JOSEPH  BADGER  (1708-1765).  Paintings  by  this  artist 
have  only  lately  been  identified  in  any  number  and  his  name 
taken  its  place  among  our  early  painters  of  note.  The  fol- 
lowing is  from  a  letter  received  in  reply  to  a  request  for  infor- 
mation regarding  this  artist: 

"Joseph  Badger  was  a  son  of  Stephen  and  Mercy  (Kettell) 
Badger  of  Charlestown,  Massachusetts,  where  he  was  born  in 
1708.  He  married  in  173 1  and  probably  removed  to  Boston, 
soon  after  which  was  apparently  his  home  for  the  remainder 
of  his  life.  He  died  in  Boston  in  1765,  leaving  a  widow  and 
several  children  and  an  insolvent  estate.  I  have  thus  far  dis- 
covered about  sevent}'  portraits  painted  b\-  him,  man}^  of 
which  have  for  years  been  passing  for  the  work  of  Smibert, 
Copley  or  Blackburn.     If  you  are  to  have  the  John  Larrabee 


'Quoted  from  Pamphlet  on  Feke,  Ibid.,  page  2?. 
'"Ibid.,  page  22. 

vi 


FOREWORD 

portrait  you  will  have  the  largest  and  most  important  example 
of  his  work  which  I  have  found  and  one  which  in  its  mannerisms 
is  very  typical  of  his  stvle."" 

Students  of  this  painter  point  out  his  method  of  posing  the 
right  hand  of  his  male  subjects,  i.  e.,  the  thumb  concealed  in 
the  pocket,  the  index  and  second  fingers  spread  at  full  length 
on  the  waistcoat,  and  the  two  remaining  curled  under  the 
palm.  This  is  as  marked  a  characteristic  in  the  work  of 
Badger  as  the  "almond  eyes"  of  the  unknown  artist  who  goes 
by  that  name  for  want  of  a  better. 

The  Will  of  Timothy  Orme  of  Boston  (1757)  shows  that  the 
sum  of  £6  each  was  paid  to  "Badger  the  Face  Painter"  for 
three  portraits,^- — certainly  not  excessive  pay.  The  portrait 
of  John  Larrabee  is  No.  3. 

JOHN  WOOLASTON  painted  largely  in  Pennsylvania  and 
the  South  and  he  is  familiar  to  us  by  his  portrait  of  Martha 
Dandridge,  the  wife  of  George  Washington.  Dunlap  makes 
two  references  to  a  painter  of  this  name  which  may  be  the 
same  man;  he  records  (i)  a  Woolaston,  as  painting  in  Phila- 
delphia in  1758  and  in  Maryland  in  1759-60  and  that  Francis 
Hopkinson  published  verses  in  his  praise  in  the  American 
Magazine  for  September,  1758;"  and  (2)  a  Woolaston,  an 
English  gentleman  who  painted  a  great  many  portraits  in 
Virginia  and  Maryland  in  1772." 

MATTHEW  PRATT  (1734-1805)  is  said  to  have  acquired 
the  rudiments  of  his  art  from  his  uncle,  James  Claypool. 
Pratt's  portrait  of  Lieutenant-Governor  Cadwallader  Golden, 


"From  Lawrence  Park,  Esq.,  of  Groton,  Massachusetts,  to  the  writer  12-31-16. 
'-  From  an  article  by  John  W.  Harrington,  A.  )'.  Sun,  Jan.  7,  '17. 
""Arts  of  Design,"  Vol.  I,  page  103. 
"Ibid.,  page  144. 

vii 


FOREWORD 

now  owned  by  the  Chamber  of  Commerce  of  New  ^Ork.  ;iiicl 
his  picture  of  West's  studio  with  his  |iii|)ils,  owned  by  tlie 
Metropolitan  Museum,  are  well  known,  lie  studied  under 
West  in  England  for  four  years  and  returned  to  Philadelphia 
and  died  there  in  1805.  "His  portraits,  though  of  no  high 
artistic  merit,  are  considered  as  exhibiting  talent  and  truth, 
and,  like  those  of  Trumbull  and  Co|)ley,  are  often  the  only 
representations  extant  of  early  American  leaders  in  civil  and 
social  life.""  He  is  represented  by  No.  ■j'j,  the  portrait  of 
Mrs.  DeLancy. 

\\  hilf  tiu'  researches  ot  the  last  ten  years  have  added  the 
names  of  John  Cireenwood.  Nathaniel  l.nimons,  Winthrop 
Chandler,  Benjamin  Hlythe,  John  Johnston,  \\  illiani  X'erstille, 
Lawrence  Kilburn  and  others"  most  ot  whom  painted  in  and 
around  Boston,  their  work  is  little  known  and  has  had  little 
effect  upon  American  art  which  can  be  measured. 

The  American  period  of  JOHN  SINCJLETON  COPLEY', 
which  may  be  roughly  fixed  at  1753-1774,  is  alone  important 
for  the  purpose  of  this  Exhibition,  and  brings  this  group  of 
painters  to  a  brilliant  close.  Copley  received  his  first  instruc- 
tion from  his  step-father,  Peter  Pelham,  an  engraver  of  some 
note.  At  about  fifteen  he  painted  a  jiortrait  of  his  step- 
brother, Charles  Pelham,  and  at  sixteen  a  portrait  of  the  Rev. 
William  Welsteed,  which  now  belongs  to  the  Massachusetts 
Historical  Society.  An  example  of  his  precocity  is  seen  in 
No.  16,  being  the  portrait  of  Jonathan  Mountfort  of  Boston, 
dated  1753  and  painted  when  the  artist  was  sixteen.  His 
portrait  of  his  step-brother,  Henry  Pelham,  known  as  "The 
Boy  with  the  Sciuirrel,"  was  consigned  to  Benjamin  West  in 


""Tuckcrman — Book  of  the  .Artists"  page  48. 

""Little  known  Larly  American  Portrait  Painters,"  by  Frank  \V.  Bayley. 

viii 


FOREWORD 


London  and  exhibited  in  1766,  and  in  the  same  year  Copley- 
was  elected  a  member  of  the  Society  of  Artists  of  Great 
Britain.  Copley's  rise  as  a  painter  in  this  country  was  rapid. 
Charles  Willson  Peale  sought  his  instruction  as  early  as  1768 
and  John  Trumbull  later  desired  to  become  his  pupil.  He 
was  undoubtedly  the  fashionable  portrait  painter  of  the  day 
and  while  there  are  many  of  his  works  here  shown,  the  portraits 
of  Mrs.  John  Bacon  (Elizabeth  Goldthwaite)  No.  10,  and 
Mrs.  Ben.  Davis  (Anstice  Greenleaf)  No.  13,  are  typical  ex- 
amples of  his  portraiture  of  this  period.  Here  the  exquisite 
texture  of  the  satin,  the  filmy  lace,  and  the  broad,  heavy 
shadows  modelling  the  lighted  portions  of  the  face,  portray 
Copley's  art  at  its  best. 

In  1774  Copley  went  to  England,  studied  in  Italy  and 
settled  in  London  in  1775,  where  he  resided  until  his  death. 
He  became  the  fashion  in  England  and,  falling  in  with  the 
taste  of  the  day,  engaged  in  the  painting  of  historical  pictures, 
along  with  portraiture.  Copley's  copy  of  "The  Death  of  the 
Earl  of  Chatham,"  No.  20  and  the  first  sketch  for  "The 
Death  of  Major  Pierson,"  No.  21.  the  finished  products  from 
which  now  hang  in  the  National  Gallery  in  London,  give  some 
indication  of  this  branch  of  his  art.  Copley  never  returned  to 
this  country.  His  son,  born  in  America,  was  educated  at 
Trinity  College,  Cambridge,  and  after  a  distinguished  career 
at  the  Bar  became  Lord  Chancellor  of  England  under  the  name 
of  Baron  Lyndhurst.  Copley's  art  and  life  became  so  con- 
nected with  England  and  his  style  so  influenced  by  his  models 
Reynolds  and  Gainsborough  that  no  example  of  his  later 
portraiture  has  been  included,  as  outside  of  our  range. 

It  is  to  be  regretted  that  no  portrait  in  wax  by  PATIENCE 
WRKiHT  has  been  found  for  exhibition,  nor  is  there  an  ex- 


IX 


FOREWORD 

ample  of  the  i)i)rtraitiire  of  her  son,  Jose|)h  \\'rij;;lit.  Patience 
Wright,  faniDiis  in  this  country  for  her  wax  portraits,  went  to 
Flngland  in  1772  and  lived  the  remainder  of  her  life  in  Kngland 
and  France,  dying  in  London  in  17S5.  It  is  interesting  to 
note  that  her  daughter  became  the  wife  of  the  Knglish  artist 
John  Hoppner. 

II 

Concerning  the  second  group — Portrait  painters  of  the 
Revolutionary  and  early  Constitutional  period — facts  are  more 
numerous.  With  the  increase  of  population  and  wealth,  the 
customs  of  the  people  became  more  luxurious.  With  the 
increased  ease  of  travel  many  artists  attained  more  than  a 
local  influence  and  reputation.  Records  were  kept  with 
greater  frequency  so  that  the  details  of  their  lives  and  work 
are  many  and  exact. 

The  close  of  the  Revolution  left  Washington  as  the  over- 
shadowing figure  on  the  American  continent.  It  was  natural 
that  not  alone  local  artists  but  visiting  painters  during  this 
period  should  have  sought  to  transmit  to  canvas  his  majestic 
face,  as  an  introduction  to  the  .American  public  and  the 
patriotic  demand  was  so  great  that  literally  hundreds  of 
portraits  of  Washington  then  painted — good,  bad  and  indif- 
ferent— exist.  The  most  familiar  portraits,  of  course,  are 
those  by  GILBERT  STUART.  We  are  particularly  fortunate 
in  being  able  to  show  the  following  portraits  of  Washington: 

The  Athenaeum  Type        No.  10 1 
The  Vaughn  Type  No.  102 

An  original  portrait  of  the 
Lansdowne  Type  No.  103 

4.     Charles  Willson  Peale      Bust  Portrait  No.  63 


I. 

Gilbert  Stuart 

2. 

Do 

3- 

Do 

FOREWORD 

5.  Do  Continental  Type  No.  64 

6.  Robert  Edge  Pine  No.  75 

7.  Rembrandt  Peale  A    Portrait    of   the   Type 

painted   when    Peale   was 
eighteen  years  old  No.  71 

8.  Do  The    Composite    or    Port 

Hole  Type  of  1824  No.  72 

9.  10.     Two  Pastelles  by  James  Sharpies  Nos.  87  and  88 

Stuart  states  that  he  painted  three  original  portraits  of 
Washington  from  life.''  Tuckerman  says  that  he  made  twenty- 
six  copies  of  these  originals,  but  as  Miss  Johnston  points  out  in 
her  book,  ''either  his  memory  or  his  record  has  been  at  fault,"'' 
as  she  gives  a  list  of  fifty-nine  by  Stuart  of  different  types. 
Among  Stuart's  effects  was  found  a  list  dated  April  20,  1795," 
showing  that  he  then  had  thirty-nine  orders  for  copies  of  his 
Washington.  As  the  first  portrait  was  of  the  Vaughn  Type 
painted  in  1795,  and  as  it  is  probable  that  he  did  not  begin  to 
meet  this  demand  until  1796,  most  of  the  copies  known  were 
made  from  the  unfinished  "Athenaeum"  head  then  painted, 
which  he  retained  in  his  possession  until  his  death.  Several 
writers  record  the  unscrupulous  request  of  Winstanley  that 
Stuart  visit  his  studio  and  touch  some  of  the  copies  made  by 
him  with  his  riding  whip  so  that  Winstanley  might  sell  them  as 
having  received  the  last  touches  from  Stuart's  hands,  and  his 
indignant  refusal.^"  Later  research  has  probably  raised  the 
number  of  the  Athenaeum  copies  to  between  fifty  and  sixty 
and  of  the  Vaughn  to  nine. 

Of  the  portraits  known  as  of  the  Lansdowne  type  Stuart 

"See  letter  quoted  in  Tuckerman  "  Portraits  of  Washington,"  page  57. 
""Original  Portraits  of  Washington,"  page  80. 

""The  Life  and  Works  of  Gilbert  Stuart,"  by  George  C.  Mason,  page  87. 
-""Portraits  of  Washington,"  by  Henry  T.  Tuckerman,  page  59. 

xi 


FOREWORD 

painted  three.  One  for  William  Bingham  whiih.  signed  and 
dated,  is  now  in  the  possession  of  the  Pennsylvania  Academy 
of  the  Fine  Arts;  a  second  for  William  Constable  and  a  third  on 
the  order  of  Mr.  Bingham,  who  desired  to  present  it  to  the 
Marquis  of  Lansdowne  "in  remembrance  of  his  generous 
defense  of  the  cause  of  .America  in  the  House  of  Lords."  The 
portrait  shown,  No.  103  is  the  one  painted  for  Mr.  Constable, 
and  we  quote  from  the  recollections  of  his  daughter,  Mrs.  H.  B. 
Fierrepont  as  follows: — 

"After  our  return  from  England  in  1795,  m\'  father  went  to 
Philadelphia,  and,  at  the  request  of  his  mother,  engaged  Stuart 
to  take  his  likeness  for  his  family.  Gilbert  Stuart  was,  at 
the  time  of  my  father's  visit  (1796)  painting  a  full  length 
portrait  of  Washington  for  Mr.  Bingham,  who  presented  it  to 
the  Marquis  of  Lansdowne.  My  father  was  so  much  pleased 
with  it  that  he  engaged  Stuart  to  paint  one  for  him  at  the 
same  time,  as  the  General  was  giving  hmi  sittings.  Stuart, 
who  was  well  acquainted  with  my  father,  promised  both  pictures 
should  be  worked  upon  alternately,  so  that  both  should  be 
originals." 

This  portrait,  which  differs  somewhat  in  lighting  and  details 
from  the  other  two,  hung  in  old  Constable  home,  which  stood 
on  the  present  site  of  the  Astor  house,  until  1803.  In  18 12 
Mr.  H.  B.  Pierrepont  purchased  it  from  his  brother-in-law 
and  it  has  ever  since  hung  in  the  Pierrepont  ^Llnsi()n  on 
Pierrepont  Place,  Brooklyn,  N.  ""l'. 

Stuart  painted  one  or  two  similar  portraits  w hich  arc  known 
as  the  "Tea  Pot  Type"  by  reason  of  the  position  of  the 
right  arm. 

Trumbull  says  Charles  Willson  Peale  painted  Washington 
fourteen  times  from  life.     James  Peale,  his  brother,  painted 

xii 


FOREWORD 

Washington  in  miniature  and  at  full  length,  and  Rembrandt 
Peale,  his  son,  acknowledged  making  seventy-five  replicas  of 
his  Port  Hole  Type  alone,  and  indeed  spent  most  of  his  life 
in  depicting  Washington  in  one  way  or  another. 

The  Washington  portrait  by  the  English  artist  Robert  Edge 
Pine  is  particularly  interesting  as  showing  a  type  not  familiar 
to  the  general  public.  Pine  painted  at  least  four  portraits  of 
Washington  all  of  which  were  in  his  possession  when  he  died 
as  appears  by  the  inventory  of  his  estate.  No.  75  is  one  of 
these  and  was  purchased  in  Montreal  in  1817  from  the  nephew 
of  the  famous  Quaker  doctor  of  London,  John  Croakley  Lett- 
some,  by  Henry  Brevoort,  descended  to  his  son,  J.  Carson 
Brevoort  of  Brooklyn  and  is  still  in  the  possession  of  his 
descendants.  From  entries  in  Washington's  Diary  we  know 
that  Pine  spent  about  three  weeks  at  Mount  Vernon,  the  first 
entry  being  as  follows: — 

"1785.  April  28th,  Thursday. — To  Dinner  Mr.  Fine,  a 
pretty  eminent  Portrait  &  Historical  Painter  arrived  in  order 
to  take  m)'  picture  from  the  life  &  to  place  it  in  the  Historical 
pieces  he  was  about  to  draw." 

No  reference  to  the  Washington  portraits  would  be  complete 
without  quoting  his  reply  to  Mr.  Hopkinson's  request  that  he 
permit  Pine  to  paint  his  portrait,  part  of  which  is  as  follows: 

"I  am  so  hackneyed  to  the  touches  of  the  Painter's  pencil, 
that  I  am  now  altogether  at  their  beck,  and  sit,  like  Patience 
on  a  monument,  whilst  they  are  delineating  the  lines  of  my 
face.  It  is  a  proof,  among  many  others,  of  what  habit  and 
custom  may  effect.  At  first  I  was  as  impatient  at  the  request, 
and  as  restive  under  the  operation,  as  a  colt  is  of  the  saddle. 
The  next   time   I    submitted    very   reluctantly,   but   with   less 

xiii 


FOREWORD 

flouncinj;.      Now  no  dray-horse  inovts  more  readily  to  the  thill, 
than  I  to  the  Painter's  Chair."-' 

No  portrait  of  W  ashin^ton  by  1  rumbull  was  available,  but 
those  interested  may  see  an  example  in  the  Governor's  Room 
of  the  City  Hall,  New  York  City. 

WILLI.AM  DUNL.'XP  (1766-1838)  is  chiefly  to  be  remem- 
bered because  of  his  l)()()k  "History  of  the  Rise  and  Progress 
of  the  Arts  of  Design  in  the  United  States," — the  first  work 
of  authority  which  deals  with  American  art.  He  is  repre- 
sented by  the  portrait  of  Robert  Snow,  No.  22,  first  President 
(1823- 1 826)  of  The  Brooklyn  Apprentices'  Library  Associa- 
tion— the  name  under  which  the  Brooklyn  Institute  of  Arts 
and  Sciences  was  incorporated. 

Of  AMES,  EARL,  OTIS.  WERTMULLER  and  WIN- 
STANLEY  examples  are  shown,  and  MALBONE  is  repre- 
sented by  some  examples  of  his  exquisite  work  in  miniature. 

CHARLES  WILLSON  PEALE  (1741-1827)  born  at  Ches- 
terton, Maryland,  exercised  great  influence  upon  art  in  this 
country.  He  is  said  to  have  been  instructed  by  John,  son  of 
Gustavus  Hesselius,  to  have  consulted  Copley  who  lent  him  a 
picture  to  copy,  and  Dunlap  quotes  his  son,  Rembrandt  Peale, 
as  saying  that  "The  sight  of  Mr.  Copley's  picture-room 
aff^orded  him  great  enjoyment  and  instruction."-  He  went 
to  London  in  1768  bearing  letters  to  Mr.  West  and  remained 
there  two  years  as  an  inmate  of  his  home.  F^stablished  in 
Philadelphia,  he  joined  the  Continental  Army  as  Captain  of 
Volunteers  and  was  present  at  the  Battles  of  Trenton  and 
Germantown,    and    after   the    Revolution,    like    many  of  the 


""Johnston's  Original  Portraits  of  Washington,"  page  40. 
""Arts  of  Design,"  \'ol.  I.,  page  137. 


XIV 


FOREWORD 

artists  of  the  day,  derived  a  considerable  part  of  his  income 
from  painting  portraits  of  Washington  and  replicas  and  copies 
thereof  for  the  Legislative  Halls  of  the  various  states,  or  tor 
the  private  collections  of  patriotic  citizens.  His  most  impor- 
tant portrait  of  Washington  is  that  painted  at  Mount  Vernon 
in  1772,  which  is  the  earliest  portrait  of  Washington  we  have 
and  depicts  him  as  a  Colonel  of  the  Virginia  Militia.  He 
became  a  collector  of  various  articles,  conceived  the  idea  of 
forming  a  museum,  and  actively  promoted  the  measures  which 
resulted  in  the  erection  of  the  building  of  the  Pennsylvania 
Academy  of  the  Fine  Arts.  Much  of  what  we  know  of  the  repre- 
sentative people  in  Pennsylvania  of  that  day  is  due  to  his  art. 
Dunlap  thus  sums  up  his  trades,  employments  and  profes- 
sions, as  follows: — 

"He  was  a  sadler;  harness-maker;  clock  and  watch-maker; 
silver-smith;  painter  in  oil,  crayons  and  miniature;  modeler 
in  clay,  wax  and  plaster;  he  sawed  his  own  ivory  for  his  min- 
iatures, moulded  the  glasses,  and  made  the  shagreen  cases; 
he  was  a  soldier;  a  legislator;  a  lecturer;  a  preserver  of 
animals, — whose  deficiencies  he  supplied  b\'  means  of  glass 
eyes  and  artificial  limbs;  he  w-as  a  dentist — and  he  was,  as  his 
biographer  trul\'  sa\'s,  'a  mild,  benevolent,  and  good  man'."-' 

The  name  of  BENJAMIN  WEST  (1738-1820)  should 
receive  note,  not  alone  because  he  was  the  first  and  only  Amer- 
ican to  become  President  of  the  British  Royal  Academy,  but 
because  he  was  the  kindly  friend  and  instructor  of  the  many 
Americans  who  went  to  England  to  study  in  the  period  1765 
to  1820.  .\mong  others,  Pratt,  Trumbull,  C.  W.  Peale,  Stuart, 
Malbone,  Dunlap,  Allston,  Sully,  Morse  and  Leslie  sought  and 


-'"Arts  of  Design,  "  Vol.  I,  page  140. 

XV 


FOREWORD 

received  his  instriution  aiul  help.  West  was  born  at  Spring- 
field, Pennsylvania,  and  died  in  I-iukIoh.  Tik  kerman  says 
of  him: 

"  R;n\l\  is  so  long  a  lite  marked  bj'  so  much  serene  prosperity; 
in  the  lonj;  retrospect  he  could  trace  the  dawn  of  art  in  rlu- 
New  World  h\  his  familiar  experience;  for,  during  his  residence 
in  London,  he  was  the  resource  and  oracle  of  his  countrymen 
engaged  in  the  same  pursuit.  "-* 

West,  as  a  boy  of  sixteen,  painted  portraits  while  receivinj^ 
his  education  in  Philadelphia,  and  at  eighteen  he  had  estab- 
lished himself  as  a  i)ortrait  painter  and  is  said  to  have  received 
two  and  one-halt  guineas  for  a  head  and  five  for  a  full  length 
portrait.  At  twenty-one  he  sailed  for  (>ibraltar  and  after  a 
tour  on  the  Continent  went  to  England  in  1763.  The  classic 
revival  which  was  spreading  over  Europe  greatly  influenced 
West  and  he  began  his  long  career  as  an  historical  painter 
shortly  after  his  arrival  in  London.  His  most  widely  known 
pictures,  in  this  country  at  least,  are  "Christ  Healing  the 
Sick,"  "Christ  Rejected,"  "  Death  on  the  Pale  Horse"  (the 
latter  now  in  the  Pennsylvania  Academy  of  the  Fine  Arts),  and 
"  Penn's  Treaty  with  the  Indians"  and  "The  Death  of  General 
W^)lf,"  familiar  through  engraving.  "The  Death  of  General 
Wolf"  has  been  declared  "to  have  created  an  era  in  English 
art  by  the  successful  example  it  initiated  of  the  abandonment 
of  classic  costume — a  reform  ad\'ocared  1)\  Reynolds.""  He 
painted  in  England  a  succession  of  jjortraits  from  Roman  and 
Greek  history,  and  one  of  his  early  canvases,  the  "Departure 
of  Regulus" — a  commission  from  the   King     established  his 


"  "  Book  of  the  Artists,"  page  98. 
''"  Book  of  the  Artists,"  page  100. 


XVI 


FOREWORD 


reputation,  and  during  his  long  life  he  literally  poured  forth 
large  canvases  on  historical,  mythological  and  biblical  sub- 
jects, said  to  exceed  3,000  in  number.  Upon  the  death  of 
Sir  Joshua  Reynolds  he  was  chosen  President  of  the  Royal 
Academy  in  1792.  No  example  of  his  purely  classical 
work  is  available  for  this  Exhibition,  but  of  his  portraiture  an 
example  will  be  found  in  No.  132,  representing  Dr.  Enoch 
Edwards,  an  American  friend,  painted  while  Dr.  Edwards  was 
in  London.  We  also  show  West's  unfinished  study.  No.  133, 
for  a  projected  historical  picture  of  the  Commissioners  who 
signed  the  Treaty  of  Peace  between  Great  Britain  and  her 
revolting  colonies  (November  30,  1782).  West  finished  the 
portraits  of  the  American  Commissioners,  Benjamin  Franklin, 
John  Adams,  John  Jay  and  Henry  Laurens,  and  the  Secretary, 
William  Temple  Franklin,  from  the  waist  up  and  sketched  in 
the  figures,  and  it  was  evidently  his  intention  to  include  in  the 
blank  space  to  the  right,  the  English  Commissioner  Richard 
Oswald  and  the  Secretary  Caleb  Whitefoord,  and  possibly 
Alleyne  Fitzherbert  who  signed  the  armistice  two  months  later 
declaring  a  cession  of  hostilities.  The  picture  is  stated  to 
have  been  sold  among  West's  effects  after  his  death  and  pur- 
chased by  the  family  of  Edward  Strutt,  M.  P.  (Lord  Belper)'^ 
It  has  only  lately  come  to  this  country  and  has  never  before 
been  publicly  exhibited  here. 

The  success  of  West  influenced  JOHN  TRUMBULL  (1756- 
1843)  to  become  the  first  historical  painter  of  the  young 
Republic.  Trumbull,  the  son  of  Jonathan  Trumbull  the 
Colonial  Governor  of  Connecticut,  was  a  graduate  of  Harvard, 
joined  the  Continental  Army  and  retired  in  1777  owing  to 
some  disagreement  over  his  commission.    The  usually  accepted 

^'  "Centennial  of  the  Inauguration  of  Washington,"  by  Clarence  W.  Bowcn,  pages  481-2. 

xvii 


FOREWORD 

Story  that  much  of  the  spirit  displayed  in  his  jiicture  "The 
Battle  of  Bunker's  Hill"  arose  from  the  fact  that  he  took  part 
in  that  engagement,  must  give  way  before  historical  accuracy 
which  records  that  he  only  "saw  the  smoke  of  the  action  from 
Roxbury,  four  miles  away."^'     He  went  to  London  to  study 
in  1780,  and  shortly  after  his  arrival  was  arrested  as  a  spy — a 
reprisal  for  the  hanging  of  Major  Andre — and  it  was  due  to 
West's  influence  with  (ieorge  HI  that  his  release,  after  seven 
months,   was  obtained   on   bail,   with   West   and   Copley   as 
sureties,  upon  condition  that  he  immediately  leave  England. 
After  peace  was  signed  he  continued  his  studies  as  a  member 
of  West's  household,  and  it  is  undoubtedly  due  in  large  measure 
to  this  sojourn  and  his  acquaintance  with  Copley  and  his  work, 
which  confirmed  him  in  his  desire  to  be  an  historical  painter,  so 
that,  upon  his  return  to  America  in  1789  he  was  so  filled  with 
this  idea  that  he  spent  several  years  making  studies  of  the 
heads  of  the  important  actors  in  the  War  of  the  Revolution  for 
a   projected   group   of  historical   paintings  to   delineate   our 
history.     At  least  two  of  his  historical  works  "The  Battle  of 
Bunker's  Hill"  and  "The  Death  of  Montgomery"  were  painted 
and  the  studies  for  two  more  sketched  in  1786  while  under  the 
instruction  and  influence  of  West,  and  it  is  upon  the  work  of 
this  period,  ending  with  1794,  that  his  reputation  largely  rests. 
He  was  again  in  New  York  for  three  or  four  years,  from  1804 
on,  then  again  established  himself  as  a  portrait  painter  in 
London,  and  there  is  little  doubt  but  that  he  intended  to  make 
England  his  permanent  abiding  place.     Whether  a  decline  in 
his  powers  with  the  consequent  loss  of  employment  determined 
him  to  return  to  America  or,  what  is  more  probable,  he  learned 
of  the   projected   rebuilding  of  the  Capitol   at  Washington, 


""John  Trumbull  and  His  Works,"  John  F.  Weir,  N.  A.,  page  20. 

xviii 


FOREWORD 


burned  by  the  British  during  the  War  of  1812,  and  saw  his 
opportunity;  in  any  event,  he  came  to  this  country  and 
exhibited  in  Washington  his  two  small  pictures  of  "The  Battle 
of  Bunker's  Hill"  and  "The  Death  of  Montgomery,"  together 
with  his  collection  of  studies  and  miniature  heads  for  others, 
and  applied  for  the  commission  to  paint  the  eight  large  can- 
vases dealing  with  our  history  to  adorn  the  rotunda  of  the 
Capitol.  The  choice  of  subjects  was  left  to  President  Madison 
and  he  was  commissioned  to  paint  the  "Declaration  of  Inde- 
pendence," "The  Surrender  of  Burgoyne,"  "The  Surrender  of 
Cornwallis"  and  "The  Resignation  of  Washington  at  Anna- 
polis." "The  Battle  of  Bunker's  Hill"  and  "The  Death  of 
Montgomery,"  by  far  his  best  conceptions,  were  rejected  as 
representing  the  triumph  of  our  enemies.  Trumbull  enlarged 
"The  Declaration  "  first,  which  he  exhibited  with  great  success, 
receiving  several  thousand  dollars  from  the  entrance  money 
alone.  Some  criticism  of  its  historical  value  was  heard  and 
the  artist  and  his  product  came  in  for  the  biting  sarcasm  of 
John  Randolph,  who  somewhat  unfairly  dubbed  it  "The  Shin 
Piece,"  a  name  which  it  has  ever  after  borne,  but  on  the  whole 
the  work  received  the  approbation  of  the  public.  "The  Sur- 
render of  Burgoyne"  was  finished  second,  and  exhibited  with 
less  success,  and  finally,  in  1824,  when  he  exhibited  his  last 
picture  "The  Resignation  of  Washington,"  it  was  said  that 
the  returns  did  not  pay  room  rent.  In  later  life  Trumbull  fell 
into  evil  times;  he  besought  Congress  in  vain  to  permit  him 
to  paint  the  remaining  panels  for  the  rotunda,  and  importuned 
the  President  with  a  plan  for  the  permanent  encouragement  of 
the  fine  arts  in  the  United  States,  under  which  he  proposed  that 

"whenever  an  event,  political,  naval,  or  military,  shall  occur, 
which   shall   be   regarded   by  the  government   as  of  sufficient 

XIX 


FOREWORD 

importance  to  bt-  recorded  as  matter  of  history,  tlie  most 
em  iniiii  ]iaiiii  n  nt  i  In-  t  mu-.  In-  onlrnil  to  paiiir  a  picture  ot  the 
same,  to  he  placiil  in  some  ot  the  national  hiiil(imj;s  that  an 
artist  of  secondary  talent  be  employed  to  make  a  cop\'  ot  the 
same  which  shall  be  p;iven  to  the  minister,  admiral,  or  general 
under  whose  direction  or  cunim.md  I  in-  e\eni  shall  ha\i-  taki-n 
place,  as  a  testimoin  ot  the  aii|irobation  aiul  <iratifutle  ot  the 
nation."-' 

We  have  im  (huiht  in  nur  iniiuls  wlidin  I  ruinhull  considered 
then  "the  most  eminent  |).iiiitcr  ol  rlic  time,""  Init  who  was  the 
artist  of  "secondary  talent""  we  are  imintornied.  When  hiially 
an  indififerent  Conjjress  refused  to  i)iirchase  his  orij^inal  histori- 
cal compositions,  togetiier  with  other  sketches  and  portraits, 
Yale  College  paid  him  a  small  lite  pension  in  exchange  for  the 
collection.  liuis  the  work  ol  his  cmIn  and  hrilliant  years,  by 
tar  the  most  im|)ortanr  collcition  ol  his  work,  obtained  a 
permanent  abode.  Ihe  ofliiials  ot  ^  ale  University  tound 
that  the  deed  of  gitt  from  Trumbull  forbade  the  loan  ol  any 
of  this  collection  to  this  Exhibition.  An  example  ol  his 
historical  painting  may  be  seen  in  one  ol  the  replicas  ol  the 
"Sortie  from  (libraltar"  No.  121,  ai)pended  to  which  is  the 
key  in  Trumbuirs  handwriting.  The  ])ortrait  of  Clovernor 
Clinton,  loaned  by  The  City  of  New  York,  No.  1 16,  was  painted 
in  1791.  and  Dunlap  says  that  it  is  "  the  best  large-sized  picture 
he  ever  painted."-'  The  background  of  this  picture  represents 
the  British  troops  storming  Fort  Montgomery,  where  Gover- 
nor Clinton  was  in  comiiiand  of  the  American  troops. 

The  work  of  GILBERT  STUART  {1755-1828)  which,  taken 
as  a  whole,  entitles  him  to  be  considered  the  foremost  American 


"  "  Dunlap,  Arts  of  Design,"  \'<>1.  I,  pages  384-38;. 
-'"Arts  of  Design,"  Vol.  I,  page  362. 

XX 


FOREWORD 

painter  produced  during  the  period  covered,  is'so'well  known 
that  little  reference  to  him  need  be  made.  So  many  of  our 
early  statesmen,  financiers  and  the  belles  of  the  period  live  in 
his  glowing  canvases  and  panels  that  his  work  stands  almost  as 
a  synonym  for  American  portraiture. 

Stuart  was  born  in  Rhode  Island,  the  son  of  Gilbert  Stuart, 
a  Scotchman,  and  Elizabeth  Anthony,  the  daughter  of  an 
Englishman  then  living  in  Newport.  The  usual  stories  of  a 
young  painter's  precocity  are  told  of  him,  and  he  is  said  to 
have  received  a  commission  at  the  age  of  thirteen,  to  paint  the 
portraits  of  Mr.  and  Mrs.  John  Bannister  of  Newport,  which 
are  now  in  the  Redwood  Library.  He  studied  under  Cosmo 
Alexander  and  accompanied  him  to  England  in  1772  and  was 
forced  to  return  to  America  by  reason  of  the  death  of  his  patron. 
After  a  short  stay,  which  was  largely  employed  in  painting 
portraits  in  Rhode  Island,  he  continued  his  studies  in  England 
in  1775,  and  like  so  many  American  painters  of  his  time,  came 
under  the  influence  and  instruction  of  West.  For  a  period  of 
upwards  of  fifteen  years  he  successfully  practiced  his  art  in 
England  and  Ireland,  but  returned  to  this  country  in  1793  to 
spend  the  remainder  of  his  life.  It  is  said  that  he  came  here 
imbued  with  the  desire  to  paint  the  portrait  of  Washington, 
which  was  accomplished  in  1795,  and  it  is  not  an  exaggeration 
to  say  that  the  so-called  Athenaeum  portrait  of  Washington 
which  came  from  Stuart's  brush  has  preserved  his  likeness  in 
the  minds  of  millions  of  his  countrymen.  He  painted  in 
Philadelphia  and  Washington  for  a  period  of  eleven  years  and 
then  established  himself  in  Boston,  where  he  resided  until  his 
death.  It  is  his  portraits  painted  during  the  period  ending 
about  1815  upon  which  his  reputation  is  mainly  based.  It  is 
a  subject  of  regret  that  Stuart  did  not  keep  a  register  of  his 

xxi 


FOREWORD 

sitters,  like  Sully,  and  that  he  signed  few  if  any  of  his  portraits, 
but  his  own  remark  that  he  signed  his  name  all  over  the  canvas 
can  be  said  of  his  work  with  perhaps  more  truth  than  of  the 
work  of  any  other  jKiinter.  How  quick  he  was  to  gauge  the 
character  of  his  sitter,  and  what  AUston  called  his  marvelous 
"power  of  distinguishing  the  individual  from  the  conven- 
tional," strikes  one  at  the  first  glance  at  his  portraits.  There 
is  no  sameness,  no  likeness  of  one  portrait  to  another,  such  as 
frequently  appears  in  the  work  of  Sully's  later  years.  West's 
remark  to  one  of  his  pupils  has  been  otten  (juoted :  "  It  is  of  no 
use  to  steal  Stuart's  colors;  if  you  want  to  paint  as  he  does 
you  must  steal  his  eyes."-^"  Tuckerman  sums  up  his  power  by 
saying  no  one  "caught  with  more  truth,  or  delineated  with 
more  power,  the  expression  and  character  of  the  physiognomy 
and  the  temperament"  of  the  sitter. 

This  Exhibition  is  particularly  rich  in  examples  from  his 
brush.  The  portrait  No.  99  of  Captain  Richard  Pearson,  and 
No.  90  of  Colonel  Isaac  Barre  may  be  compared  with  the 
Madison,  No.  96,  McKean,  No.  97,  Colonel  Smith,  No.  100,  and 
Mr.  and  Mrs.  Law,  Nos.  94,  95,  to  note  the  differences  of 
style  between  his  English  and  American  periods. 

Ill 

The  third  group  is  the  work  of  painters  ending  with  1850. 
As  the  most  important  we  show  a  number  of  examples  of 
THOMAS  SULLY  from  his  best  period  which,  terminating 
about  1835,  brought  the  golden  age  of  American  portrait  paint- 
ing to  an  end.  Note  William  Chamberlain,  No.  105,  Joseph  A. 
Dougan,  No.  108,  John  Hogg,  No.  1 10,  and  Theodore  Gourdin 
No.  109,  as  examples.    Here  and  there  a  portrait  of  importance 


"Mason's  Life  of  Stuart,  page  38. 

x\ii 


FOREWORD 

by  another  artist  of  the  period  may  be  found.  We  show 
examples  by  Sully's  brilliant  pupil  Eichholtz,  Nos.  25,  26,  27,  of 
Jarvis,  Nos.  44,  45,  46,  47,  48,  Morse's  exquisite  portrait  of  his 
daughter  known  as  "The Muse,"  No.  56,  Neagle's  portrait  of 
Sargeant  Wallace,  No.  58,  the  Vanderlyn  portrait  of  Sampson 
Wilder,  No.  123,  as  works  of  merit,  and  occasionally  examples 
by  Waldo,  Harding,  Inman,  Elliott  and  Huntington  may  rise 
above  the  mediocre,  but  except  in  rare  instances  they  do  not 
approach  in  interest  or  importance  the  works  of  the  masters 
Copley,  Stuart  and  Sully. 

THOMAS  SULLY  (1783-1872)  though  born  in  England 
came  to  this  country  a  boy  of  nine  and  resided  here  through 
eighty  years.  With  the  exception  of  one  year  spent  under  the 
instruction  of  West — 1809-10 — he  received  his  education  here 
and  his  reputation  rests  upon  his  American  work.  Through 
his  long  life  of  eighty-nine  years  he  was  to  see  American  art 
reach  its  zenith  and  decline  into  the  era  of  the  story-telling 
picture  of  the  Diisseldorf  School,  walnut  furniture  and  other 
Victorian  abominations.  Born  in  the  closing  year  of  the 
Revolution  he  was  to  live  almost  to  see  the  Centennial  Exposi- 
tion of  1876  which  was  to  awaken  again  the  artistic  sense  of 
this  country;  he  was  to  live  to  see  portraiture  decline  until 
most  were  content  with  the  Silhouette  or  Daguerreotype  with 
which  to  transmit  their  likenesses  to  posterity;  he  was  to  see 
the  fashion  of  the  day  require  as  art  "The  Ideal  Head,"  as 
exemplified  in  the  "Gift  Books"  from  1830  to  i860,  and 
occasionally  even  Sully  bowed  to  the  popular  demand.  No. 
107,  while  engraved  as  a  fancy  picture  under  the  title  "The 
Country  Girl"  and  "Maidenhood,"  is  in  reality  a  portrait  of 
Elizabeth  Cook,  a  friend  of  one  of  Sully's  daughters. 

Living  through  most  of  the  "dark  ages" — 1835-1880 — Sully 

XXlll 


I-OKIW  (IRI) 


successfully  avoided  immortalizing  on  huge  canvases  the 
tousled  head,  the  hulking  shirt  front,  the  haj^gy  trousers,  the 
clumsy  desks  and  tiie  waste  paper  baskets  so  dear  to  the 
jKiinters  of  that  jieriod. 

A  kindly  critic  has  recorded  his  rej^ret  that  the  "brush  had 
not  fallen  from  the  hand  in  its  fullness  of  power  rather  than 
in  its  final  struggle."''  but  though  Sully  practiced  his  profession 
until  within  a  year  of  his  death,  and  admitting  that  jwrtraits 
done  in  his  latter  years  lack  virility,  still  they  shine  by  com- 
parison with  those  of  most  of  his  English  or  American  con- 
temporaries. 

John  Hill  Morgan, 

January  i,  1917. 


The  Committee  desires  to  express  its  appreciation  to 
the  various  owners  who  have  so  generously  loaned  many 
important  and  valuable  examples  of  our  early  painters.  It 
feels  that  its  thanks  must  be  publicly  tendered  to  Mr.  Herbert 
Lee  Pratt  w  hose  generous  offer  of  the  whole  or  any  part  of  his 
collection — an  offer  made  at  the  inception  ot  the  |)lan  and 
which  insured  an  exhibition  of  importance — immeasurably 
lightened  its  labors.  It  also  desires  to  acknowledge  its  ap- 
preciation of  the  kindly  interest  of  Mr.  Thomas  H.  Clarke, 
Mr.  John  V.  Lewis  and  .Mr.  Lawrence  Park,  and  for  the 
assistance  and  valuable  advice  of  Mr.  Charles  Henry  Hart  and 
Mr.  William  Macbeth. 

Regarding  the  attributions  as  set  forth  in  the  catalogue,  the 
Committee  desires  to  state  that  it  has  made  diligent  effort 
to  obtain  authentic  information.     The  pictures  shown  have 


"Charles  Henry  H.irt,  "'Ihum.is  Sully's  Register  of  Portraits,"  page  17. 

XX  iv 


FOREWORD 


reliable  pedigrees;  many  have  been  exhibited  before  and  are 
referred  to  in  the  Hves  or  lists  of  works  of  the  artists.  In  a 
few  cases — perhaps  four  or  five — the  evidence  is  not  complete 
and  the  attribution  is  upon  the  responsibility  of  the  owner 
and  not  of  the  Committee. 

Regarding  the  pictures  loaned  bv  Mr.  Pratt,  some  of  the 
material  has  been  excerpted  from  notes  made  for  Mr.  Pratt's 
catalogue  by  Mr.  Charles  Henry  Hart. 

It  is  hoped  that  this  Exhibition  may  help  to  identify  and 
record  many  important  examples  of  our  early  painters  and 
stimulate  interest  in  art  of  purelv  American  character. 


XXV 


EARLY    AMERICAN    PAINTINGS 


EZRA  AMES 
Late  eighteenth  and  early  nineteenth  century.  Ezra  Ames 
was  "a  coach  painter  of  Albany  who  turned  his  attention  to 
portraiture  and  gained  distinction  in  1812  by  exhibiting  his 
likeness  of  Governor  George  Clinton  at  the  Pennsylvania 
Academy;  during  several  years  he  executed  portraits  of  the 
western  members  of  the  legislature,  and  these,  with  other 
specimens  of  his  imitative  skill,  are  widely  scattered  in  New 
York  State."     Tuckerman — Book  of  the  Artists,  page  68. 

-I  GOVERNOR  GEORGE  CLINTON  (1739-1812).  Born 
-*•  at  Little  Britain,  New  York,  the  son  of  Charles  Clinton 
(1690-1773).  In  1775  he  was  a  member  of  the  second  Con- 
tinental Congress,  and  in  December  of  the  same  year,  was 
appointed  brigadier-general  of  militia;  later  he  held  the  same 
rank  in  tiie  Continental  Army.  Governor  of  New  York  from 
1777  to  1795  and  from  iSoi  to  1804.  Eourth  vice-president 
of  the  United  States,  1805.  Trumbull's  jiortrait  of  Governor 
Clinton  is  No.  116  of  this  exhibition. 
On  canvas:   H.  30  inches;   W.  24  inches. 


Lent  by  the  Misses  White. 
I 


GOVERNOR    GEORGE    CLINTON    BY    EZRA    AMES 


MRS.     lAMKS    KINC     BY     H/.RA    AMES 


EARLY   AMERICAN    PAINTINGS 


EZRA  AMES 

CONTINUED 

^  PORTRAIT  OF  MRS.  JAMES  KING  (1800-1823). 
^  Daughter  of  William  James,  a  prominent  merchant  of 
Albany.  Her  husband,  James  King,  w  as  a  lawyer.  This  portrait 
was  painted  a  short  time  before  her  death,  and  is  still  in  the 
possession  of  a  descendant. 
On  canvas:    H.  30  inches;    W.  24  inches. 


Lent  by  Mis.  Franklin  Bartlett. 
2 


EARLY    AMKRICAN    PAINTINGS 


JOSEPH  BADGER 

1 708-1 765 

The  son  of  Stephen  and  Mercy  (Kettell)  Badger,  was  born  in 
Charlestown,  Massachusetts.  He  married  in  173 1  and  died  in 
Boston.  (For  further  information  concerning  this  artist,  see 
Foreword,  page  vi.) 

^  CAPTAIN  JOHN  LARR.ABFE.  The  New  England  Regis- 
•-5  ter  has  a  reference  to  the  marriage  of  Sarah  Larrabee, 
daughter  of  Capt.  John  Larrabee,  stationed  in  Castle  WilHam, 
Boston  Harbor,  in  1738. 

Again  in  a  list  of  subscribers  to  a  certain  publication  is  the 
name  of  Capt.  John  Larrabee,  Lieutenant  of  Castle  William. 
On  canvas:    H.  S^^z  inches;   W.  51  inches. 


Lent  by  Mr.  M.   L.   Goodwin. 
3 


CAPTAIN    JOHN    LARRABEE    BY    JOSEPH     BADGER 


PRESIDENT    WILLIAM    HENRY    HARRISON    BY    JAMES    HENRY    BEARD 


EARLY    AMERICAN    PAINTINGS 


JAMES  HENRY  BEARD 

(1814-1893) 

Born  in  Buffalo,  New  York;  died  at  Elushing,  Long  Island. 
He  lived  in  Cincinnati  during  the  earlier  part  of  his  life,  at  a 
time  when  he  devoted  himself  almost  exclusively  to  por- 
trait-painting. He  is  known  to  have  made  portraits  of 
Henry  Clay  and  Presidents  John  Q.  Adams,  Taylor  and 
Harrison.  He  came  to  New  York  in  1846  and  was  one  of  the 
originators  and  charter  members  of  the  Century  Club.  In  his 
later  years  he  devoted  his  time  chiefly  to  animal  painting. 

^^  WILLIAM  HENRY  HARRISON  (1773-1841).  Born 
*-^*-^  at  Berkeley,  Virginia,  the  son  of  Benjamin  Harrison,  a 
member  of  the  Virginia  House  of  Burgesses.  A  soldier  during 
the  earlier  part  of  his  life,  he  was  a  representative  in  Congress 
from  1816  to  1S19;  member  of  the  Ohio  Senate,  1819-1821; 
Lnited  States  senator,  1S25-1828.  Elected  ninth  president 
of  the  United  States,  he  was  inaugurated  the  4th  of  March, 
184 1,  and  died  a  month  afterwards,  succeeded  by  the  vice- 
president,  John  Tyler,  whose  portrait  is  No.  114  of  this  exhi- 
bition. 

Other  portraits  of  William   Henrv  Harrison  are  Nos.   50,  59 
and  66. 
On  canvas:  H.  36  inches;  W.  27  inches. 


Lent  by  Mrs.  Benjamin  Harrison 
3a 


EARLY    AMERICAN    PAINTINGS 


THOMAS  BIRCH 

I779-I85I 

The  son  of  William  Birch,  the  enamel  painter,  was  bom  in 
London,  and  was  brought  to  America  ca.  1793  by  his  father 
who  settled  in  Philadelphia.  Taught  by  his  father,  he  is  said 
to  have  had  such  companions  as  John  Wesley  Jarvis,  Samuel 
Seymour  and  also  Thomas  Sully.  Dunlap  writes  of  him: 
"Mr.  Birch  is  a  good  landscajie  painter  and  a  very  fine  |iainter 
of  marines." 

A  THE    CONSTITUTION     AND    THE     CJUKRRIERE. 
'  "  fhe  United  States  declared  war  against  Great  Britain,  June 
iS,   1812.   .  .   .     Three  weeks  later,  the  "Constitution"  under 
Captain  Hull,  sailed  from  Annapolis.     Soon  after  leaving  the 
Chesapeake  she  came  upon  a  British  squadron  of  one  sixty- 
four  and  four  frigates,  and  then  ensued  the  famous  three  days' 
chase,  in  the  course  of  which,  by  a  marvel  of  good  seamanship 
and  good  discipline,  the  American  frigate  escaped.     After  a 
short  respite  in  Boston,  Hull  set  out  again,  and  on  the  19th  of 
.August  he  fought  and  ca[)tured  the  Guerriere,  Captain  Dacres, 
in  an  engagement  lasting  about  an  hour." 
Larned's  "History  for  Ready  Reference"  pp.  3343^3344. 
On  canvas:    H.  28}/^  inches;   W.  36  inches. 
Collection  of  Joseph  Harrison  of  Philadelphia. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
4 


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EARLY    AMERICAN    PAINTINGS 


THOMAS  BIRCH 

CONTINUED 

r  THE  UNITED  STATES  AND  THE  MACEDONIAN. 
*^  During  the  War  of  1812  between  the  United  States  and 
Great  Britain  "later  in  the  same  month  (October  25)  another 
frigate  action  took  place,  the  'United  States'  under  Decatur, 
capturing  the  'Macedonian'.  .  .  .  The  American  casualties 
were  13,  the  English  104." 

Larned's  "History  for  Ready  Reference,"  p.  3344. 
On  canvas:    H.  28  inches;   W.  36  inches. 
Collection  of  Joseph  Harrison  of  Philadelphia. 


Lent  b}-  Mr.  Herbert  Lee  Pratt. 
5 


EARLY    AMERICAN    PAINTINGS 


THOMAS  BIRCH 

CONTINLF.D 

x  Till-:  WASP  AM)    THE   FROITC.     'Tn  October   20tli, 
^   1812,  the  sloop  'Wasp,'  Captain  Jacob  Jones,  captured  the 
English  brig  'Frolic,'  of  approximately  the  same  force.      The 
relative  loss  of  English  and  Americans  was  again  five  to  one. 
Both  vessels  were  soon  after  taken  by  a  seventy-tour." 
Larned's  "History  for  Ready  Reference,"  page  3344. 
On  canvas:  H.  28i/^  inches.     W.  36  inches. 
Signed:    T.  Birch,  181^. 
Collection  of  Joseph  Harrison  of  Phil.uieli)hia. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
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MRS.    JOSHUA    BABCOCK    BY   JONATHAN    BLACKBURN 


EARLY   AMERICAN    PAINTINGS 


JONATHAN  BLACKBURN 

Very  little  is  available  concerning  the  life  of  this  American- 
born  artist.  Dunlap  writes:  ''All  we  know  is  that  he  was 
nearly  contemporary  with  John  Smybert  and  painted  very 
respectable  portraits  in  Boston."  He  was  born  in  Connecticut 
about  1700;  he  is  known  to  have  worked  in  Boston  from  1750 
to  1765.  Tuckerman  says  that  he  executed  notable  portraits 
in  Boston,  Portsmouth,  N.  H.,  and  other  New  England  towns, 
and  enumerates  several  of  his  works.     He  died  after  1765. 

-y  MRS.  JOSHUA  BABCOCK  (1714-1778).  The  lineage 
'  of  the  Blackburn  portrait  of  Mrs.  Hannah  Stanton  Babcock, 
the  wife  of  Chief  Justice  Babcock  of  Rhode  Island,  is  as 
follows : 

Mrs.  Joshua  Babcock  (17 14-1778)  to  her  son 

Adam  Babcock  (1740-18  17)  to  bis  son 

William  Smith  Babcock  (1764-c.  1840)  to  his  daughter 

Elizabeth  Smith  Babcock  (1817-post  1903),  wife  of  Rev.  S.  S. 

Mathews  (i8i7-'47)  to  her  daughter 
Martha  Ann  Mathews  (1841-1900),  wife  of  Dr.  T.  J.  Pray,  to 

her  daughter 
Mary  Elizabeth  Pray  (1873-post  1903)  to  her  uncle 
Rev.  Samuel  S.  Mathews  (1847-19 10)  to  his  daughter 
Anna  Elizabeth  Mathews  Richardson. 

She  was  the  last  lineal  owner  of  the  portrait  and  was  the  one 
from  whom  Mr.  Brigham  obtained  it  in  191 5. 
On  canvas:    H.  45  inches;   W.  36^^  inches. 

Lent  by  Mr.  William  Macbeth. 
7 


EARLY   AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

1737-1815 
Born  in  Boston,  Mass.,  probably  taught  by  his  stepfather, 
Peter  Pelhain.  the  painter  and  engraver,  who  died  in  Boston 
in  1 75 1,  and  jierhaps  also  by  Jonathan  Blackburn.  He  painted 
portraits  and  historical  scenes.  Having  met  with  material 
success  in  .America,  ho  decided  to  study  the  art  pt  the  Old 
World  and  went  to  Ital\  in  1774.  In  1775  he  went  to  England 
and  settled  in  London  where  his  wife  and  family  joined  him. 
He  died  in  England.  The  Life  of  Copley  by  A.  T.  Perkins 
lists  two  hundred  and  sixty-nine  oil-paintings,  thirty-five  cray- 
ons, and  fourteen  miniatures. 

Q  .\DAM  BABCOCK  (1740^1817).  Born  in  Westerly, 
^  Rhode  Island,  the  son  of  the  famous  physician.  Dr.  Joshua 
Babcock,  and  of  Hannah  Stanton  Babcock  (whose  portrait  by 
Jonathan  Blackburn,  is  No.  7  of  this  exhibition),  .Adam 
Babcock  was  a  successful  merchant  of  Boston,  where  he  died. 
From  the  collection  of  Rev.  Edwin  A.  Blake,  of  Brooklyn, 
Connecticut,  his  grandson. 

See  Babcock's  Genealogy  and  Updike's  Narrangansett. 
On  canvas:    H.  451^  inches;   W.  36  inches. 


Lent  by  Miss  A.  G.  Chapman. 
8 


ADAM    BABCOCK    BY    JOHN    SINGLETON    COPLEY 


MRS.    ADAM    BABCOCK     BY    JOHN    SINaLETON    COPLEY 


EARLY    AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINUED 

Q  MRS.  ADAM  BABCOCK  (1744-1777).    Abigail  Smith, 
-^  wife  of  Adam  Babcock.  who  is  the  subject  of  the  preceding 

portrait,  died  at  the  age  of  thirty-three. 

See  Babcock's  Genealogy  and  Updike's  Narragansett. 

On  canvas:    H.  451 2  inches;    W.  36  inches. 


Lent  by  Miss  A.  G.  Chapman. 
9 


EARLY    AMERICAN    PAINTINGS 


JOHN  SINGLE  KA  CUIM.K^' 

CONTINUED 

-1/^  MRS.  JOHN  BACON.  Painted  at  H..st<.n  in  1769. 
^^  F.lizabeth  (loicitlnvaite  was  horn  in  1733.  She  was  the 
daughter  of  Ezekiel  Goldthwaite.  V.si\.,  from  1740  to  1776 
Registrar  of  Deeds,  Suffolk  County,  Mass.,  and  Town  Clerk, 
Boston.  Her  first  husband,  the  Rev.  Alexander  Cummings 
was  pastor  of  the  Old  South  Church,  Boston;  her  second 
husband  was  the  Rev.  John  Bacon.  The  following  is  the  hill 
for  Mrs.  Bacon's  (Cummings)  portrait  and  two  others  (the 
original  still  in  possession  of  a  descendant). 

Boston,    Mrs.    Elizabeth    Cummings   to  Jn.    S.    Copley,    Dr. 

1769  To  her  own  portrait  :'4  at  7  Guis  C9-"i6"-o 
To  Mrs.  Marquarters  Do  9-"i6"-o 
To  Mr.  Marquarters         Do  9-"i6"-o 

1770  To  two  Black  Frames  at  24  2-"  8"-o 


Rec'd  tlif  contents  in  full  £31— i6"-o' 

John  Suijiieton  Copley. 

This  portrait  is  still  in  the  possession  of  a  descendant. 
On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  by  Mr.  Walter  H.  Crittenden. 
10 


Correction,  i>a>;e  if\  lines  12  and  13. 
For  Marquarters  read  Macinarters. 


MRS.    JOHN    BACON    BY    JOHN    SINGLETON    COPLEY 


MRS.    JOSI-I'II    BARRHl.I.    BY    JOHN    SI  N(;i.ETON    COl'LEY 


EARLY    AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINUED 

1  ^  MRS.  JOSEPH  BARRELL  (1744  1771).  Painted  in 
-*  -*-  Boston,  1768.  Her  maiden  name  was  Anna  Pierce;  her 
father  was  a  noted  physician  of  Portsmouth,  New  Hampshire. 
Her  husband  was  a  Boston  merchant  whose  country  house  at 
Somerviile,  Massachusetts,  was  built  by  Charles  Bulfinch,  the 
architect.  Afterwards  it  became  the  McLean  Asylum.  (See 
article  by  Samuel  Isham,  Burlington  Magazine,  April,  1907.) 
Another  pastel  portrait  of  Mrs.  Barrell  by  John  Singleton 
Copley  is  the  following.  This  portrait  is  still  in  the  possession 
of  a  descendant. 
Pastel:    H.  23  inches;    W.  17  inches. 


Lent  b)-  Mrs.  Robert  Lee  Hale. 
II 


KARl.Y    AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINIKI) 


1^  MRS.  JOSEPH  BARRELL  (1744-1771).  Painted  in 
*■  "^  1766.  Her  maiden  name  was  Anna  Pierce;  her  father 
was  a  noted  physician  of  Portsmoutii,  New  Hampshire.  Her 
husband  was  a  Hoston  merchant  whose  country  house  at 
Somerville,  Massachusetts,  was  huih  by  Charles  Bulfinch,  the 
architect.  Afterward  it  became  tiie  McLean  Asylum.  (See 
article  by  Samuel  Isham,  Burlington  Magazine,  April,  1907.) 
Another  pastel  portrait  of  Mrs.  Barrell  by  John  Singleton 
Copley  is  the  preceding.  This  portrait  is  still  in  the  possession 
of  a  descendant. 
Pastel:    H.  23  inches;    W.  17  inches. 


Lent  by  Mrs.  William  A.  Putnam. 
12 


MRS.    JOSEPH    BARRELL    BY    JOHN    SINGLETON    COPLEY 


MRS.    BEN.    DAVIS    BY    JOHN    SINGLETON    COPLEY 


EARLY    AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINUED 

1  ^  MRS.  BEN.  DAVIS.  She  was  Anstice,  daughter  of 
^*^  Sheriff  Stephen  Greenleaf  and  wife  of  Benjamin  Davis; 
she  died  young,  without  issue. 

Purchased  from  Mrs.  Ellen  Susan  Bulfinch,  a  descendant. 
On  canvas:    H.  30  inches;    W.  24^4  inches. 


The  property  of  the  Brooklyn  Museum. 
13 


KARLY    AMKRICAN     TAINTINGS 


14 


JOHN  SINGLETON  COPI.E^' 

CONTINL  11) 

MRS.  ISAAC  llUEMES.  Miss  Rebecca  Bee,  ot  the 
well  known  South  Carolina  family  of  that  name,  married 
Isaac  Holmes,  first  collector  of  the  Port  of  Charleston,  ap- 
pointed by  George  Washington. 

This  portrait  uas  in  the  possession  of  the  Ilohiies  family  from 
the  time  that  it  was  painted  uiuil  i(;i3,  when  it  was  purchased 
from  Mr.  Charles  R.  Holmes  of  Charleston,  South  Carolina. 
Exhibit  No.  419,  catalogue  of  the  South  Carolina  Interstate 
and  West  Indian  Exposition — Charleston  1901-02.  Described 
in  "Life  of  John  Singleton  Copley,"  by  .August  Thorndyke 
Perkins,  page  73;  also  in  "John  Singleton  Copley,"  by  Albert 
W.  Bayley,  page  144. 
On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  hv  Mr.  Herbert  Lee  Pratt. 
14 


MRS.    ISAAC    HOLMES    BY    lOHN    SINGLETON    COPLEY 


JOHN     BKE    HOLMES    BY    JOHN    SINGLETON    COPLEY 


EARLY    AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINUED 

1  ^  JOHN  BEE  HOLMES  (1760-1827).  This  portrait  was 
-*-  "-^  in  the  possession  of  the  Holmes  family  of  Charleston, 
South  Carolina,  from  the  time  it  was  painted  by  Copley  until 
1905,  when  the  present  owner  purchased  it  from  Mr.  Charles 
R.  Holmes  of  Charleston.  It  is  known  as  "Boy  with  a 
squirrel,"  and  was  painted  in  Boston  at  the  time  of  a  visit  of 
the  family  to  that  city.  His  mother,  Mrs.  Isaac  Holmes,  is 
the  subject  ot  the  preceding  portrait. 
On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  by  Mrs.  William  A.  Putnam. 
15 


EARLY    AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINUED 

t  /-  JON  A  THAN  MOUNTFOR'l.oi  BOSTON.  This  portrait 
■*^  ^  is  an  example  of  very  early  work.     Copley  was  sixteen 
when  this  portrait  was  painted.   It  is  dated  1753.    This  portrait 
is  still  in  the  possession  of  a  descendant. 
On  canvas:    H.  29  inches;   W.  25  inches. 


Lent  by  Miss  Nancy  M.  Sanborn. 
16 


JONATHAN    MOUNTFORT    OF    BOSTON    BY    JOHN    SINGLETON    COPLEY 


JAMES    MURRAY    BY    JOHN    SINGLETON    COPLEY 


EARLY    AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINUED 


-|  '-J  JAMES  MURRAY  (1713-1791).  He  was  born  at 
-*■  '  Unthank,  Scotland,  and  died  at  Halifax,  N.  S.  Mr. 
Murray  was  a  planter  in  North  Carolina  from  1735  to  1765 
and  a  member  of  the  Governor's  Council,  secretary  and  clerk 
of  the  Crown.  From  1765  to  1776  he  lived  in  Boston,  but 
not  finding  himself  in  sympathy  with  the  revolutionary  move- 
ment, became  an  exile  and  retired  to  Halifax.  This  portrait 
was  painted  about  1761  and  remained  at  Brush  Hill,  near 
Milton,  until  the  death  of  James  Murray  Robbins,  a  grandson 
of  James  Murray,  which  occurred  in  1885.  The  portrait  was 
then  allotted  to  Mrs.  J.  P.  Lesley,  who  in  turn  presented  it  to 
Mr.  Edward  H.  R.  Lyman,  the  father  of  the  present  owner. 
This  portrait  is  still  in  the  possession  of  a  descendant. 
On  canvas:    H.  493^2  inches;   W.  39^14  inches. 


Lent  b}-  Mr.  Frank  Lyman. 
17 


EARLY    AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINUED 

1  M  COLONEL  EPES  SARGENT  (1690-1762).  "This 
^  ^  portrait  offers  a  remarkably  fine  example  of  Copley's 
style  at  a  period  prior  to  his  departure  for  England,  when  some 
of  his  most  vigorous  and  characteristic  work  was  produced. 
It  is  undated,  but  was  probably  painted  before  1760.  Colonel 
Epes  Sargent,  whose  colonel's  commission  was  held  under  King 
George  II.,  was  liorii  in  Gloucester,  Massachusetts,  but  the 
latter  part  of  his  life  was  passed  in  Salem,  where  he  died." 
Masters  in  Art,  pt.  60,  page  39.  This  portrait  is  still  in  the 
possession  of  a  descendant. 
On  canvas:   H.  49M  inches;   W.  40  inches. 


Lent  by  Mr.  and  Mrs.  G.  H.  Clements. 
18 


COLONEL  EPES  SARGENT  BY  JOHN  SINGLETON  COPLEY 


DANIEL    CROMMKI.IN    VKRPI.ANCK    BY    JOHN    SINGLETON    COPLEY 


EARLY    AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINUED 

1  Q  DANIEL  CROMMELINVERPLANCK.  Born  in  1762. 
-■■  ^  This  portrait  was  painted  in  New  York  about  1 770^*72 
when  he  was  about  eight  or  ten  years  old,  and  has  been  in  the 
possession  of  the  family  uninterruptedly  ever  since. 
On  canvas:    H.  49%  inches;   W.  40  inches. 


Lent  b}'  Mr.  William  E.  Verplanck. 
19 


KARLY    AMKRICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINl'Fn 

^r\  ••  rnK  DK.vni  of  the  earl  ok  chalh  \m" 

— Vi  William  Pitt,  1708-1778).  "On  April  7,  177S.  tin-  Duke 
of  RiihuKiiui,  w  ho  had  ti)rinerly  supported  Chatham's  Aincriran 
policy,  hut  now  openK  advocated  the  immediate  acknowledge- 
ment ot  American  indc|)cndence,  moved  an  address  to  the 
Crown  for  the  withdrawal  of  the  forces  from  the  revolted 
colonies.  Against  the  advice  of  his  phvsician,  Chatham  insisted 
on  being  present  at  the  debate,  in  order  that  he  might  i)ublicly 
declare  his  disagreement  with  the  American  policy  of  the  Rock- 
ingham party.  Wrapped  up  in  Hannel.  and  supported  on 
crutches,  he  was  led  into  the  house  by  his  son  William,  ami 
his  son-in-law,  Lord  Mahon.  In  a  few  broken  words,  uttered 
in  a  barely  audible  voice  he  protested  for  the  last  time  against 
'the  dismemberment  of  this  ancient  and  most  noble  monarchy' 
....  \\  hile  rising  to  sjieak  a  second  time  in  reply  to  the 
Duke  of  Richmond,  Chatham  fell  backwards  in  a  tit.  He 
was  carried  into  the  Prince's  Cli  amlKi,  and  the  debate  immedi- 
ately adjourned.  .  .  .  After  lingering  a  few  weeks,  he  died,  on 
May  II,  1778."  Dictionary  of  National  Biography,  v.  45  :  p.  364. 
The  finished  picture  of  w  hich  this  is  a  study,  is  in  the  National 
(jallery  in  London.  It  contains  forty-five  portraits  of  mem- 
bers ot  the  House  of  Lords,  which  are  said  to  have  been  copied 
from  other  portraits  by  Reynolds,  Romney,  Gainsborough, 
etc.  Copley  made  a  number  of  preliminary  studies  for  this 
picture,  as  was  his  custom,  at  least  two  or  three  having  found 
their  way  to  this  country.  (  Purchased  from  Messrs.  Vicars 
Bros.,  London.) 
On  canvas:    H.  ^1^2  inches;    \\'.  44  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 

20 


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EARLY   AMERICAN    PAINTINGS 


JOHN  SINGLETON  COPLEY 

CONTINUED 

^1  "THE  DEATH  OF  MAJOR  PIERSON"  (First 
^  A    sketch).     The  finished  picture  of  "The  Death  of  Major 

Pierson,"  of  which  this  is  the  first  sketch,  was  painted  for 
Alderman  Boydell  in  17S3,  and  now  hangs  in  the  National 
Gallery,  London. 

The  picture  records  the  incident  of  the  death  of  Major  Pierson 
in  resisting  the  attack  of  the  French  on  the  Island  of  Jersey 
on  January  6,  1781.  The  French,  by  a  night  surprise,  cap- 
tured St.  Helier  and  made  prisoner  Major  Corbet,  the  Lieu- 
tenant-Governor who  was  induced  to  capitulate  and  order  the 
surrender  of  the  militia  and  the  regulars.  Major  Pierson,  of 
the  96th  Regiment,  refused  to  submit,  rallied  the  troops  and 
completely  routed  the  invaders.  He  tell  at  the  outset  of  the 
fighting  in  Royal  Square,  where  the  battle  took  place.  His 
negro  body-servant  is  said  to  have  seized  a  rifle  and  shot  his 
slayer. 

The  engraving  from  the  picture  in  the  National  Gallery  which 
is  appended,  will  show  the  many  changes  which  occurred  to 
Copley's  first  conception  of  the  incident. 

Exhibited  in  the  Manchester  Art  Treasures  Exhibition  in 
1857,  No.  112  of  the  Catalogue,  and  in  the  International 
Exhibit  of  1862,  No.  128  of  the  Catalogue.  It  was  sold  in 
London  along  with  the  effects  of  Lord  Lyndhurst  (Copley's 
son),  March  5,  1864,  No.  71  of  the  Catalogue.  From  the 
collection  of  Newton  Robinson,  Esq.  and  Messrs.  Leggat 
Bros.,  London. 
On  canvas:   H.  32  inches;   W.  36  inches. 


Lent  by  Mr.  John  Hill  Morgan 
21 


KARl.Y    AMERICAN    I'AINTINCS 


WILLIAM   DINI.AP 
1 766-1 839 

Painter  and  author;  was  liorn  in  l\rtli-Amboy,  New  jersey. 
He  he^an  painting  portraits  at  seventeen  and  besides  liis 
"History  ol  the  Rise  and  Proj2;ress  of  the  Arts  of  Design  in 
the  L  nited  State>"  pnhhshed  in  two  volumes  in  New  York 
in  1834,  he  is  the  author  of  several  plays,  of  a  "History  of 
New  Netherlands""  ami  oiie  ol  the  American  theatre.  His 
"Arts  of  Design  in  the  liiited  States'"  is  the  earliest  hook  on 
the  subject  and  is  re|)eatedl\  (juoted  in  this  .mil  other  works 
on  earl\    \merican  art.      l)unla|)  died  in  New   ^  ork. 

^^    ROBKR'i"  SNOW.      First  president  (  1S23-1832)  of  the 

■^■^   .\l)]>rentices  Library  Association,  the  name  under  which 

the   Brooklyn  Institute  of  Arts  and    Sciences  was  originally 

incorporated. 

On  canvas:    11.  }},^  2.  inches;    W.  26-^4  inches. 


1  he  property  of  the  Brooklyn  Museum. 
22 


ROBERT    SNOW    BY    WILLIAM    DUNLAP 


MRS.    WINFIEl.I)    SCOTT    BY    ASHER    BROWN    OL'RANU 


EARLY    AMERICAN    PAINTINGS 


ASHER  BROWN  DURAND 

1 796-1886 

Born  in  Jefiferson,  New  Jersey.  He  was  the  descendant 
of  French  Protestants  who  had  found  refuge  in  America 
after  the  repeal  of  the  Edict  of  Nantes,  and  is  better  known  as 
a  landscape  than  as  a  portrait  painter.  He  was  also  an 
engraver,  reproducing  Trumbull's  "Declaration  of  Indepen- 
dence," and  heads  of  Jay,  Decatur,  Marshall,  Jackson,  Cass, 
Kent,  Clinton  and  Adams.  He  abandoned  engraving  for 
portrait  and  landscape  painting  in  1835.  He  was  one  of  the 
founders  of  the  National  Academy  of  Design  in  1826. 

^^  PORTRAIT  OF  MRS.  WINFIELD  SCOTT   (178?- 
^*^   1866).     WifeofGeneralWinfield  Scott.     She  was  Maria 
Mayo,  a  daughter  of  John  Mayo,  Esq.,  of  Richmond,  Virginia, 
On  Canvas:  H.  34  inches;   W.  27  inches. 
Signed:  J.  B.  D.  18 31. 


Lent  by  Mr.  Albert  Rosenthal 
23 


KARI.Y    AMKRICAN     PAINTINGS 


RALPH  EARL 

1751-1801 

Born  in  Lcircstcr,  Massacluiserts.  Painter  of  porrraits  and 
historical  scenes.  He  is  the  autlior  of  tour  "Scenes  ot  the 
Battle  of  Lexington,"  which  wore  engraved  hiter  by  Amos 
Doohttle.  After  tlie  war  he  went  to  London  where  he  studied 
with  Benjamin  West.  He  returned  to  .America  in  1 7S6  and 
died  in  Bolton,  Connecticut. 

^  j  MRS.  CHARLES  JEEFERV  SMITH.  Mrs.  Smith,  ..f 
"^  '  Smithtown,  Long  Island,  was  horn  in  1736.  She  is 
represented  stringing  cocoons,  heing  said  to  have  introduced 
silk-worm  culture  into  Long  Island.  Her  i)arents  were  Piatt 
Smith  and  Marv  Woolsev,  of  Southold,  Long  Island.  Her 
son,  Llihu  Piatt  Smith,  was  also  paintetl  hy  Larl  in  1794. 
Ihis  portrait  is  still  in  the  possession  of  a  descendant. 
On  canvas:  H.  4.7^4  inches;  W.  4184  inches. 
Signed:    A*.  EarK  IJQI- 


Lent  hy  Professor   1  luodore  S.  Woolsey. 
24 


MRS.    CHARLES    JEFFERY    SMITH    BY    RALPH    KARL 


MARY    JUSTICE    COOPER    B\    JACOB    EICHHOLTZ 


EARLY    AMERICAN    PAINTINGS 


JACOB  EICHHOLTZ 

1776-1S42 

Also  spelled  Eicholtz;  he  was  born  in  Lancaster,  Pennsylvania, 
and  died  there.     He  studied  with  Thomas  Sully. 

^^  MAR^'  JUSTICE  COOPER.  Born  1766,  at  Mt.  Holly, 
^*-^  New  Jersey,  and  married  in  Christ  Church,  Philadelphia, 
October  10,  1785,  to  Joseph  Cooper.  The  portrait  is  referred 
to  in  "Colonial  Families  of  Philadelphia,"  and  is  still  in  the 
possession  of  a  descendant. 
On  canvas:    H.  30  inches;   W.  25^2  inches. 


Lent  by  Mr.  Samuel  W.  Cooper. 
25 


EARLY    AMERICAN    PAINTINGS 


JACOB  KlClllKJI.IZ 

CONTINUED 

^z' wii.i.iwi  iip:athcotp:  DeLancy  (1797-1865). 

"^  -^    Ml.   DeLancy  was   Provost  ot    rhf  University  of  IVnii- 
sylviinia  trom  1828  to  1834,  and  also  Hisho|>  of  tlu-  Western 
Diocese  of  New  York. 
On  canvas:    H.  26  inches;    \\  .  22' •>  inches. 


Lent  by  Mi.  Alexander  Smith  Cochran. 

26 


WILLIAM  HEATHCOTE  DELANCY   BY    lACOB   EICHHOLTZ 


JOHN    HOWARD    PAYNE    BY    JACOB    F.ICHHOLTZ 


EARLY   AMERICAN    PAINTINGS 


JACOB  EICHHOLTZ 

CONTINUED 

^-n  JOHN  HOWARD  PAYNE  (1792-1852).  This  portrait 
"^  '  was  painted  in  1S17.  It  is  signed  on  the  back  as  was 
Eichholtz'  custom.  It  was  formerly  exhibited  at  Lancaster 
at  the  Eichholtz  Exhibition  and  also  at  the  Panama-Pacific 
Exhibition.  Payne  is  the  author  of  "Home,  Sweet  Home." 
He  was  consul  to  Tunis,  where  he  died. 
On  canvas:  H.  29  inches;  \V.  24  inches. 
Signed:   Eichholtz,  iSiy. 


Lent  b\'  Mr.  John  Frederick  Lewis. 
27 


EARLY   AMERICAN    PAINTINGS 


CHARLES  LORINC;  ELLIOTT 

1812-1868 

Also  spelled  Elliot;  lit-  w.is  born  in  Scipio,  New  York,  in  1812, 
the  son  of  an  architect,  and  died  in  Albany,  New  "VOrk,  in 
1868.  Starting  as  a  clerk  in  Syracuse,  he  went  to  New  York 
in  1834,  where  he  became  a  pupil  of  Trumbull.  Eminently  a 
portrait  painter  (he  is  said  to  have  painted  more  than  seven 
hundred  of  his  contemporaries)  he  was  made  A.  N.  A.  in  1845, 
and  N.  A.  in  1846.  His  portrait  of  Fletcher  Harper  was  shown 
in  Paris  at  the  exhibition  of  1867. 

/^o  PORTRAIT  OF  GENERAL  JOHN  C.  FREMONT 
^^  (1813-1890).  Nicknamed  the  "Pathfinder,"  John  C. 
Fremont  was  a  noted  American  explorer,  general  and  politician. 
He  was  born  at  Savannah,  Georgia,  in  18 13  and  died  in  New 
York  in  1890.  He  explored  the  South  Pass  (Rocky  Moun- 
tains) and  the  Pacific  Slope;  was  United  States  senator  from 
California  i850-'5i;  organized  in  1853  an  expedition  to 
complete  a  previous  exploration  of  a  route  to  California;  was 
the  Republican  candidate  for  the  Presidency  in  1856  and 
governor  of  Arizona  1878-1882. 
On  canvas:  H.  36  inches;  W.  29  inches. 
From  the  C.  C.  Markham  Collection. 


Lent  by  Mr.  William  S.  Hughes. 
28 


GENERAL    JOHN    C.    FREMONT    BY    CHARLES    LORING    ELLIOTT 


I'AMKl.A    ANDREWS    B^'    KOlUiRT    FEKE 


EARLY   AMERICAN    PAINTINGS 


ROBERT  FEKE 

Eighteenth  century 

Very  little  is  known  concerning  the  life  of  this  interesting  artist. 
He  was  the  son  of  a  Baptist  minister  of  Oyster  Bay,  Long 
Island,  and  married  Eleanor  Cozzens  in  Newport  in  1742. 
He  is  said  to  have  died  at  forty-four  years  of  age  at  Bermuda, 
where  he  had  gone  for  his  health. 
For  additional  information,  see  Foreword,  page  v. 

/pQ  PAMELA  ANDREWS.  Professor  William  Carey 
^^  Poland  in  his  discussion  of  Feke's  work  calls  attention 
to  "an  ideal  figure  picture  representing  Pamela  Andrews,  the 
heroine  of  Richardson's  novel." 

The  Rhode  Island  School  of  Design  received  this  portrait  as 
a  bequest  from  Miss  Sarah  Crawford  Durfee,  the  great-grand- 
daughter of  Benjamin  Cozzens,  brother  of  Eleanor  Cozzens, 
Robert  Feke's  wife. 
On  canvas:    H.  31  inches;    W.  24  inches. 


Lent  by  the  Rhode  Island  School  of  Design. 
29 


EARI.V    AMERICAN    PAINTINGS 


GKOIUIK  HENR^'  HALL 
1 825-191 3 

Born  in  Bcjston;  self-taught,  he  began  painting  in  1842.  In 
1849  he  went  to  Germany  and  PVance,  returning  to  New  York 
in  1852.  He  was  made  N.  A.  in  1868  and  regularly  exhibited 
at  the  National  Academy. 

^/^  PORl'RAir  OK  THE  ARTIST.     Painted  by  himself 
*^^  in  Boston  in  1845,  when  nineteen  years  old. 
On  canvas:   H.  30I4  inches;   W.  253^  inches. 


The  property  of  the  Brooklyn  Museum. 
30 


GEORGE    HENRY    HALL    PAINTED    BY    HIMSELF 


DANIEL    BOONE    BY    CHESTER    HAKDING 


EARLY    AMERICAN    PAINTINGS 


CHESTER  HARDING 

1792-1866 


Born  in  Conway,  Massachusetts.  In  a  biography  written 
by  himself,  which  Dunlap  pubHshes  in  the  "History  of 
the  Arts  of  Design"  he  tells  how  he  began  the  trade  of 
chairmaking  at  twenty-one,  and,  not  liking  the  calling,  he 
kept  a  tavern  in  a  small  village  in  western  New  York.  This 
having  failed,  he  went  to  Pittsburg,  Hoating  down  the  Alleg- 
hany river  on  a  raft  with  his  wife,  one  child  and  valuables 
consisting  of  one  bed,  chest  of  clothing,  and  some  cooking 
utensils.  Entirely  self-taught,  he  soon  became  successful  as 
a  portrait  painter  in  this  country  and  also  in  London.  Tucker- 
man  writes  of  Harding;  "On  the  first  of  April,  1866,  a  genuine 
representative  of  the  Western  artist  died  in  Boston;  and  his 
career  may  be  regarded  as  the  connecting  link  between  the 
early  and  the  present  generation  of  American  portrait  paint- 
ers."    "  Book  of  the  Artists, "  page  63. 

:?1  DANIEL  BOONE  (173 5-1820).  Daniel  Boone,  pio- 
^-^  A  neer,  explorer  and  famous  hunter,  was  born  in  Bucks 
County,  Pennsylvania,  but  emigrated  with  his  father  to  North 
Carolina  about  1748.  He  led  an  expedition  of  six  into  Ken- 
tucky in  1769,  and  was  captured  by  Indians  but  escaped. 
Together  w  ith  several  other  families  he  emigrated  to  Kentucky 
in  1773  and  built  a  fort  at  Boonesborough  on  the  Kentucky 
River  in  1775.  Was  captured  by  the  Indians  in  1778  and  was 
adopted  into  the  tribe,  but  later  in  that  year  escaped.  He 
removed  to  Missouri  in  1795  where  he  died  in  1820. 
Painted  in  18 18  when  Boone  was  eighty-three  years  of  age; 
engraved  by  J.  B.  Longacre  for  the  National  Portrait  Gallery 
in  1835. 
On  canvas:    H.  29  inches;    W.  24  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 


EARLY    AMERICAN    PAINTINGS 


CHESTER  HARDING 

CONTINUED 

^^  EDWARD  IHTCHIXSON  ROIiBINS  (1758-1829). 
*-^^  Born  and  died  in  Milton.  He  was  graduated  from 
Harvard  in  1775;  \\as  a  la\\\er;  a  nieniher  of  the  Convention 
on  adopting  the  Constitution  of  the  United  States;  repre- 
sentative in  General  Court;  speaker's  assistant;  judge  and 
lieutenant-governor.  The  portrait  was  painted  by  Chester 
Harding  and  remained  at  Brush  Hill,  near  Milton,  Massa- 
chusetts, in  tile  home  of  James  M.  Rohhins  (his  son)  until 
1885,  when  it  was  allotted  to  Mr.  K.  H.  R.  Eynian,  in  the 
distribution  of  Mr.  Robbins'  effects.  This  portrait  is  still  ii' 
the  possession  of  a  descendant. 
On  canvas:    H.  30  inches;    \V.  25  inches. 


Lent  by  Mr.  Prank  Lyman. 
32 


EDWARD    HUTCHINSON    ROBBINS    BY    CHESTER    HARDING 


MOSES    POND    BY    GEORGE    PETER    ALEXANDER    HEAI.Y 


EARLY    AMERICAN    PAINTINGS 


GEORGE  PETER  ALEXANDER  HEALY 
I 808- I 894 

Born  in  Boston;  in  1836  he  went  to  Paris  and  Rome  where  he 
met  with  considerable  success.  On  his  return  to  America  in 
1855  he  went  to  Chicago  where  he  remained  until  1867,  and 
Tuckerman  states  that,  during  that  period,  he  executed  five 
hundred  and  seventy-seven  portraits.  He  won  third-  and 
second-class  medals  at  the  Paris  Salons  of  1840  and  1855. 
He  died  in  Paris. 

^^  HONORABLE  MOSES  POND  (1799-1870).  Painted 
*^*^  circa  1830.  Moses  Pond  was  the  senior  warden  of  the 
old  Bowdoin  Square  Church,  in  Salem  Street,  Boston,  and 
president  of  the  Massachusetts  Senate.  This  portrait  is  still 
in  the  possession  of  a  descendant. 
On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  by  Mrs.  Dunlap  Hopkins 
33 


EARLY   AMERICAN    PAINTINGS 


GUSTAVUS  IIKSSELIL'S 

1682-1755 

Born  in  Sweden  in  1682,  he  came  to  America  in  1711  cuui  liicil 
in  1755- 

:y\  rHE  LAST  SUPPER.  Of  this  picture  Charles  Henry 
*-5  '  Mart  writes: — "The  records  of  St.  Barnabas  Cliurch, 
in  Queen  Anne's  Parish,  now  Prince  George's  County, 
Maryland,  revealed  that,  in  October  172 1,  the  Vestry  engaj^ed 
Gustavus  Hesselius  to  paint  for  the  church  an  altar  piece  of 
the  Last  Supper,  which  he  C()m|)lctccl  and  delivered  in  one 
year.  The  painting  was  j)laced  in  the  church  where  it  re- 
mained for  more  than  half  a  century.  When  the  old  building 
was  demolished,  and  the  present  edifice  erected  no  place  was 
reserved  for  the  hanging  of  Hesselius'  altar  |)iece.  All  trace 
of  the  picture  was  lost  until  it  was  found  in  the  possession  of 
the  ]iresent  owner,  in  whose  family  it  had  been  for  nearly  a 
century.  Inquiry  has  fre(iuently  been  made  if  this  is  an 
original  conception  of  the  Last  Supper  or  a  co])y  ot  some  other 
work.  A  careful  research  shows  it  to  be  an  original  i)icture 
of  the  subject,  doubtless  somewhat  insjMred  by  the  little 
known  Last  Suj)per  in  the  refectory  of  the  ancient  V'allombrosan 
convent  of  San  Salvi,  outside  of  the  Porta  Santa  Croce  at 
Florence,  painted  by  Andrea  del  Sarto,  in  1526-27. 
"It  is  of  especial  interest  to  note  that  St.  Peter  on  the  right  of 
Christ  and  St.  John  resting  on  His  shoulder  are  respectively 
the  painter's  own  portrait  and  the  portrait  of  his  wife  which 
John's  feminine  characteristics  made  quite  ap])ropriate.  This 
is  shown  by  a  com])arison  of  their  jiortraits  that  Hesselius 
painted  later  in  life,  now  in  the  gallery  of  the  Pennsylvania 
Historical  Society  in  Philadelphia.  Another  feature  that  must 
be  noticed  is  the  careful  painting  of  the  hands  and  the  prom- 
inence given  them.  Hesselius  painted  hands  in  all  ot  his 
portraits  that  are  known,  he  evidently  being  proud  of  his 
accomplishment  in  their  delineation;  indeed  it  was  the  paint- 
ing of  the  hands  that  was  the  keynote  to  the  first  identification 
of  this  canvas  as  the  work  of  Gustavus  Hesselius." 
On  canvas:    H.  35  inches;   W.  117}  2  inches. 

Lent  by  Mr.  C.  H.  Hart,  attorney  for  Mrs.  Helen  Gassaway. 

34 


X 


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H 


I'RESIDK.NI     MARIIN    VAN     liURKN    BY    UAMKl.    HUNTINGTON 


EARLY    AMERICAN    PAINTINGS 


DANIEL  HUNTINCJTON 

1816-1906 

Born  in  New  York.  At  nineteen  he  studied  under  S.  F.  B. 
Morse  and  later  with  Henry  Innian.  In  1839  he  went 
to  Florence,  and  after  a  brief  stay  in  New  York,  returned  to 
Rome  in  1844.  In  1850  an  exhibition  of  his  works  held  in 
New  York  attracted  considerable  attention.  He  was  the  third 
president  of  the  National  Academy  of  Design,  being  elected 
in  1862;   he  was  elected  N.  A.  in  1840. 

^r  MARTIN  VAN  BUREN  (1782-1862).  Born  at  Kin- 
•^•^  derhook,  New  York,  the  son  of  a  farmer.  Student  at 
the  Kinderhook  Academy;  admitted  to  the  bar  in  1803; 
state  senator,  1812;  attorney-general,  1815  1819;  United 
States  senator,  1821 ;  governor  of  New  York,  1828;  secretary 
of  state,  under  Jackson,  1829;  minister  to  England,  183 1; 
eighth  vice-president  of  the  United  States,  1833;  eighth 
president  of  the  United  States,  1837-1841,  having  defeated 
William  Henry  Harrison,  whose  portraits  are  Nos.  50,  59,  66, 
of  this  exhibition. 

On  canvas:    H.  303^2  inches;    W.  25  inches. 
Signed:    D.  Huntington,  1861. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
35 


EARLY    AMKRICAN    PAINTINGS 


DANIEL  III  N'lINGTON 

c()NTiMi:n 

-^^  I'ORTRAIT  OK  MADKMOISELLE  ROSINA.  This 
'^  '  i)aintin.u;  is  also  known  as  "  TIk'  Sketcher"  and  the 
"  Eair  Sketcher"  and  is  mentioned  among  Huntington's 
paintings  in  Tiukerman's  "Book  of  the  Artists,"  page  331. 
On  canvas:  H.  39  inches;  \\  .  31^4  inches. 
Marked  on  the  stretcher:  The  Sketcher,  portrait  oj  Mile. 
Rosina,  a  Je^vess.     I).  II uiitington,  iSjS. 


riie  property  of  the  Brookl\n  Museum. 
36 


MADEMOISELLE    ROSINA    BY    DANIEL    HUNTINGTON 


FANNY  KEMBI.K  Bl'TI.KR  BY  HRNRY  INMAN 


EARLY    AMERICAN    PAINTINGS 


HENRY  INMAN 
1 802-1 846 

This  portrait,  genre  and  landscape  painter  was  born  in  Utica, 
New  York.  He  studied  under  John  Wesley  Jarvis  for  seven 
years,  opened  a  studio  in  Vesey  Street  in  1823  and  in  1826 
was  elected  vice-president  of  the  newly  established  National 
Academy  of  Design.  An  excellent  portrait  painter,  he  seems 
to  have  thought  more  of  his  landscapes  than  anything  else: 
C.  Edwards  Lester,  in  his  "Artists  of  America,"  published  in 
New  York  in  1846,  quotes  him  as  follows:  "The  taste  of  my 
'customers'  is  limited  chiefly  to  portraits.  They  will  not 
commission  me  to  execute  landscapes,  which  would  possess  a 
much  greater  value,  and  win  me  an  infinitely  higher  fame.  .  .  . 
The  busine?rS  of  a  few  generations  of  artists  in  this  country, 
as  in  all  others,  is  to  prepare  the  \\ay  for  their  successors — 
for  the  time  will  come  when  the  rage  for  portraits  in  America 
will  give  way  to  a  higher  and  purer  taste." 

^^-^  FANNY  KEMBLE  BUTLER  (1811-1893).  Frances 
•J'  Anne  Kembie  was  born  in  London,  England;  the  daugh- 
ter of  Charles  Kembie,  and  niece  of  the  celebrated  Mrs. 
Siddons.  Her  first  appearance  on  the  stage  was  in  1829, 
playing  Juliet  to  her  father's  Romeo.  In  1834  she  married 
Pierce  Butler  of  Philadelphia,  and  left  the  stage.  Returning 
to  the  stage  after  her  divorce  from  Mr.  Butler,  she  gave 
Shakespearean  readings  both  in  the  United  States  and  Great 
Britain,  and  was  a  prolific  writer  of  prose  and  poetrv.  She 
died  in  London. 

Collection  of  Colonel  Henry  T.  Chapman,  1913. 
On  canvas:    H.  34  inches;   W.  27  inches. 

The  property  of  the  Brooklyn  Museum. 
37 


KARLY    AMI  KUAN     PAINTINGS 


HENRY  IN  MAN 

CONTINUED 

^o  rkvp:rend  henr^'  crosweel,  d.u.  (1778- 

*^^  1858).  Dr.  Croswell  was  rectur  of  Triniry  Church, 
New  Haven,  Connecticut,  for  forty  years.  The  portrait  was 
painted  in  iS^cj  for  Edwin  Croswell,  a  lu-phcw,  and  the  editor 
ot  the  Albain  .\ri;us,  who  i.;ave  it  to  liis  niece.  Miss  Harriet 
Gaylord,  from  whose  sister,  M.  Elizabeth  (laylord  of  Hacken- 
sack,  New  Jersey,  the  portrait  was  |)urchased  in  i(;0().  It 
was  exhibited  in  the  National  Academy  in  1839,  No.  18  of 
the  catalogue. 
On  canvas:    H.  35^4  inches;   W.  28^^  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
38 


REV.    HENRY    CROSWELL    BY    HENRY    INMAN 


WILLIAM    INMAN    BV    HKNRV    INMAN 


EARLY    AMERICAN    PAINTINGS 


HENRY  INMAN 

CONTINUED 

^Q  WILLIAM  INMAN.     Portrait  of  the  artist's  father  who 

*-^  -^  was   a   merchant  in  New  York  and   had  another  son, 

Commodore  Wilham  Inman.     This  portrait  comes  from  the 

collection  of  Miss  Odenheimer,  a  grand-daughter  of  WilHam 

Inman. 

On  canvas:    H.  30  inches;    W.  25  inches. 


Lent  b}'  Mr.  Albert  Rosenthal. 
39 


EARLY    AMERICAN    PAINTINGS 


hp:nry  in  man 

CONTINUED 


40   •'^It^-'^-   R(>BKRT  L()\V1)P:N.      Painted   in    1837. 
Panel:    H.  32IJ  inches;    W.  25 •  4  inches. 


The  property  of  the  Brook.l\n  Museum. 
40 


MRS.    ROBERT    LOW'DEN    BY    HENRY    INMAN 


PRESinENT    JAMKS    MADISON    BY    HKNRY    INMAN 


EARLY   AMERICAN    PAINTINGS 


HENRY  INMAN 

CONTINUED 

j_-i  JAMES  MADISON  (1751-1836).  Born  in  Virginia,  the 
'  ^  son  of  James  Madison,  (jraduated  from  the  College  of 
New  Jersey  (now  Princeton  University)  in  1771;  delegate  to 
the  new  Virginia  Convention,  1776;  delegate  to  the  Con- 
tinental Congress,  1779- 1783;  member  of  the  House  of 
Representatives,  1789.  Fourth  president  of  the  United  States, 
1809;  re-elected,  1813,  defeating  De  Witt  Clinton,  whose 
portrait  is  No.  45  of  this  exhibition.  Another  portrait  of 
James  Madison  is  Stuart's  No.  96  of  this  exhibition. 
On  canvas:    H.  36  inches;    W.  igi/^  inches. 


Lent  by  Mr.  Alexander  Smith  Cochran. 
41 


EARLY    AMERICAN    F'AINTINGS 


HENRY  INMAN 

CONTINUED 

i^  HKZEKIAH     BEERS    PIERREPONT    (1768-1838). 

'  ^  Born  in  Xcw  Haven,  H.  \i.  Pierrepont  came  to  Brooklyn 
while  a  youn^  man,  and  in  1S04  hoiij^lit  the  Benson  Farm, 
where  he  resided  until  his  death.  He  was  instrumental  in  the 
layinj;  out  of  the  streets  in  Brooklyn  during  the  early  part  of 
the  nineteenth  century. 

This  portrait  is  still  in  the  possession  of  a  descendant. 
On  canvas:    H.  3032  inches;   W.  2534  inches. 


Lent  by  Mr.  Robert  Low  Pierrepont. 
42 


HEZEKIAH    BEERS    PIERREPONT    BY    HENRY    INMAN 


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a: 


EARLY    AMERICAN    PAINTINGS 


HENRY  INMAN 

CONTINUED 

4^  VIEW    OF    RYDAL  WATER.      Near    the   village    of 
'  "^  Grasmere,  Westmorland,   in  the  heart    of   the   English 

Lal<e    District,   is  the  lake  of  Rydal  Water,  surrounded    by 

picturesque   scenery   that   has   made  that  locahty  a   favorite 

resort  of  tourists. 

On  canvas:    H.  20^9  inches;    W.  24^2  inches. 

On  the  back  of  the  canvas:    Painted  by  H.  Inman,  1S44,  for 

C.  M.  Leupp,  Esq.,  New  York. 


Lent  b)-  Mr.  William  H.  Ingersoll. 
43 


EARLY    AMERICAN     PAINTINGS 


JOHN  WESLEY  JARVIS 
1780-1834 

Bom  in  Kn^Lind,  at  South  Shields-on-the-Tyne,  he  was 
brou^lit  to  America  when  five  years  old,  his  father  having 
settled  in  Philadelphia.  Mostly  self-taught,  he  is  known  to 
have  received  instructions  in  the  painting  of  miniatures  from 
Malbone.  He  painted  a  large  number  of  jiortraits,  many  of 
prominent  people,  some  of  which  can  be  seen  in  the  New  York 
City  Hall.  Tuckerniaii  writes:  "The  portraits  of  Jarvis  are 
widely  scattered  and  singularly  unccjual  in  merit.  They  may 
be  found  in  the  old  Southern  manor  houses  and  Eastern  muni- 
cipal halls."  Inni  111  was  his  pupil  for  several  years.  Concern- 
ing this  Dunlap  says  ("Arts  of  Design,"  Vol.  H,  page  81): 
"When  he  (Jarvis)  went  for  the  first  time  to  New  Orleans,  he 
took  Henry  Inman  with  him."  "  He  used  to  receive  six  sitters 
a  day- — a  sitting  occupied  an  hour — the  picture  was  then 
handed  to  Henry  Inman,  who  painted  upon  the  background 
and  drapery  under  the  master's  directions." 

A  A    COLONEL   JAMES    BURN.        He   was    aide-de-camp 
'    '    to  Major-General    Theodore  James  Wilkinson,  U.  S.  A. 

captain  of  cavalry  in  1799  and  colonel   of  the  Second    Light 

Dragoons  in  1S12;    he  died  in  F"rankford,  near  Philadelphia, 

in  1823. 

From  the  collection  of  (leorge  C.  Coulon,  of  New  Orleans. 
Panel:    H.  20  5^  inches;   W.  18  ^  inches. 


The  property  of  the  Brooklyn  Museum. 
44 


COLONEL     [AMES    BURN    BY    JOHN    WESLEY    JARVIS 


GOVERNOR    DEWITT    CLINTON    BV    JOHN    WESLEY    JARVIS 


EARLY    AMERICAN    PAINTINCIS 


JOHN  WESLEY  JAR  VIS 

CONTINUED 

AC  GOVERNOR  DeWITT  CLINTON  (1769-1828).  Son 
^•^  (if  James  Clinton  ( 1736-18 12);  graduated  from  Columbia 
College,  1786;  admitted  to  the  bar,  1790;  private  secretary 
of  his  uncle.  Governor  George  Clinton  (whose  portraits  are 
Nos.  I  and  116  of  this  exhibition)  trom  1790  to  1795;  member 
of  the  New  York  Assemby,  1798,  state  senator.  1802;  mayor 
of  New  York  from  1803  to  1807;  from  1808  to  18 10;  and 
from  1811  to  1815;  governor  of  New  York  fmm  1817  to  1823, 
and  from  1825  until  his  death. 

This  portrait  came  into  the  possession  of  the  present  owner, 
Mrs.  W.  E.  Verplanck,  through  her  aunt  and  uncle.  Mr.  and 
Mrs.  Wm.  E.  Everitt.  Mrs.  Everitt  was  a  grand-daughter  of 
General  Jacob  Brown,  former  owner  of  the  portrait.  This 
picture  is  still  in  the  possession  of  a  descendant. 
On  canvas:  H.  48 3^  inches;  \^^  363.1  inches. 


Lent  by  Mr.  William  E.  Verplanck. 
45 


EARLY    AMERICAN    PAINTINGS 


JOHN  WESLEY  J  ARMS 

CONTINI'ED 

1  x  COLONEL  W  ILLLA.M  CROGHAN.  "William  Cro^jhan 
'  ^  was  born  in  Ireland  and  it  is  not  known  when  he  came 
to  America.  He  served  during  the  Revolution  as  a  senior 
major  of  the  Virginia  Line,  fought  in  tlie  battles  of  Brandv- 
wine,  Monmouth  and  Germantown  and  was  made  prisoner  at 
Charleston.  He  was  a  member  of  Steuben's  staff  and  was 
present  when  the  Order  of  the  Cincinnati  was  founded  at  the 
Verplanck  Homestead  in  1783  and  wears  its  decoration. 
After  the  Revolution  he  settled  at  Locust  Grove,  Kentucky. 
This  portrait  is  still  in  the  possession  of  a  descendant. 
On  canvas:  H.  30  inches;  W.  25  inches. 


Lent  by  Mr.  Christopher  H.  \\ yatt. 
46 


COLONEL    WILLIAM    CROGHAN    BY    JOHN    WESLEY    JARVIS 


LUCY    CI. ARK    CROGHAN    BY    JOHN    WESLEY    JARVIS 


EARLY    AMERICAN    PAINTINGS 


JOHN  WESLEY  JARVIS 

CONTINUED 


1 -y   LUCY  CLARK  CROGHAN.     Lucy  Clark,  the  wife  of 
'  '     Colonel  William  Croghan,  was  "the  daughter  of  John 

Clark  and  the  sister  of  George  Rogers  Clark  of  western  fame. 

Her  son.  Major  George  Croghan,  was  the  hero  of  Sandusky." 

This  portrait  is  still  in  the  possession  of  a  descendant. 

On  canvas:    H.  30  inches;    W.  25  inches. 


Lent  b\-  Mr.  Christopher  B.  Wyatt. 
47 


I-ARI.Y    AMERICAN    I'AINTINGS 


JOHN  WESLEY  JARVIS 

CONTINUED 

AQ  PETER  AUGUSTUS  JAY  (1776-1843).  Peter  Aurus- 
'  ^  tus  j;iy,  the  eldest  son  of  Chief  Justice  John  Jay,  was 
l)orii  and  died  in  New  York.  He  was  a  distinguished  lawyer, 
secretary  to  his  father  when  ambassador  to  England,  member 
of  the  New  York  Assembly;  made  doctor  of  laws  by  Har- 
vard; settled  the  boundary  between  New  York  and  New 
Jersey;  recorder  in  1820;  president  of  New  York  Hospital 
and  New  York  Historical  Society. 

This  portrait  was  painted  .ihnut  1806  for  Mr.  Jay  when  he 
was  about  thirty  years  old,  and  about  the  time  of  his  marriage 
tf)  the  daughter  of  General  Matthew  Clarkson.  It  became 
the  property  of  his  grand-daughter.  Miss  Julia  Jay  Pierrepont, 
by  inheritance. 
On  canvas:    H.  30^4  inches;    W.  25' 9  inches. 


Lent  by  Miss  Pierrepont. 

48 


PETER    AUGUSTUS    JAY    BY    JOHN    WESLEY    |ARVIS 


PORTRAIT    OF    A    LADY    BY    CHARLES    ROBERT    LESLIE 


EARLY    AMERICAN    PAINTINGS 


CHARLES  ROBERT  LESLIE 

1 794- 1 8 59 

Born  in  Enj^land  of  American  parents,  he  was  taken  to  America 
in  1799.  In  1811  he  returned  to  England  and  studied  at  the 
Royal  Academy  under  Benjamin  West  and  Washington  All- 
ston.     He  remained  in  England  most  of  his  life. 

j_Q  PORTRAIT  OF  A  LADY.  The  costume  of  this  portrait 
' '^  is  of  the  period  of  Leslie's  visit  to  this  country,  1833-34, 
and  doubtless  it  was  painted  here  at  that  time.  It  is  beauti- 
fully treated  and  rich  in  color.  The  face  resembles  not  a 
little  the  portraits  of  Lydia  Huntley  Sigourney  (1791-1865), 
the  Connecticut  authoress.  (From  notes  supplied  by  Charles 
Henry  Hart.) 
On  canvas:    H.  35^4  inches;    W.  26  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
49 


EARLY    AMERICAN    PAINTINGS 


KDWARU  D.  MARCH  ANT 

1 806- 1 887 

Born  at  Edgartovvn,  Massachusetts,  he  painted  portraits  in 
Philadelphia  for  many  years;  he  died  at  Asbury  Park,  New 
Jersey.  Dunlap  writes  of  Marchant  as  follows:  "This  gentle- 
man has  exhibited  several  portraits  of  superior  merit  in  the 
gallery  of  the  National  Academy,  and  one  or  two  groups 
entitlinji  him  to  praise  in  composition." 


SO  ""■'- 

^^  at  Ber 


WILLIAM  HENRY  HARRISON  (1773  1841).  Born 
keley,  Virginia,  the  son  of  Benjamin  Harrison,  a 
member  of  the  Virginia  House  of  Burgesses.  A  soldier  during 
the  earlier  part  of  his  life,  he  was  a  representative  in  Congress 
from  1S16  to  1819;  member  of  the  Ohio  Senate,  1819-1821; 
United  States  senator,  1825-1828.  Elected  ninth  president 
of  the  I  nited  States,  he  was  inaugurated  the  4th  of  March, 
1841,  and  died  a  month  afterwards.  Other  portraits  of  W.  H. 
Harrison  are  Nos.  59  and  66  of  this  exhibition. 
On  canvas:  H.  30  inches;  W.  25  inches. 
Signed:    E.  D.  Marchant,  rSj^S. 


Besides  this  jwrtrait  of  W.  H.  Harri.son  and 
Nos.  59  and  66.  No.  3a  i.s  another  of  the 
.same  subject  ))ainted  h\- James  Henr\-  Beard. 


Lent  by  Mr.  John  Frederick  Lewis. 
SO 


PRESIDENT    WILLIAM    HENRY    HARRISON    BY    EDWARD    D.    MARCHANT 


PRESIDENT   JOHN    ADAMS    BY    SA.MUEI.    KINLEY    BREEZE    MORSE 


EARLY    AMERICAN    PAINTINGS 


SAMUEL  FINLEY  BREEZE  MORSE 

1791-1872 

Inventor,  figure  and  portrait  painter,  and  sculptor.  Born  in 
Charlestown,  Massachusetts,  died  in  New  York  City.  Grad- 
uated in  1810  from  Yale;  became  a  pupil  of  Washington 
Allston,  whom  he  accompanied  the  following  year  to  London, 
where  he  studied  also  under  West.  Returned  to  America  in 
1815  and  painted  portraits  in  Boston,  Concord  and  also 
Charleston,  South  Carolina.  Settled  in  New  York  in  1823, 
where  in  1826,  he  became  one  of  the  original  founders  of  the 
National  Academy  of  Design,  and  its  first  president,  serving 
from  1827  to  1845  and  again  1 861-1862.  Among  his  most 
important  paintings  is  the  full  length  portrait  of  La  Fayette  in 
the  New  York  City  Hall,  and  the  large  picture,  the  old  "  House 
of  Representatives  by  Candle  Light,"  now  in  the  Corcoran 
Gallery  of  Art  in  Washington.  His  model  of  a  "Dying 
Hercules,"  made  to  assist  him  in  painting  a  picture  of  this 
subject  which  was  exhibited  in  1813  at  the  Royal  Academy, 
was  awarded  a  gold  medal  the  same  year  at  the  Adelphi 
Society  of  Arts.  In  1839  he  gave  up  art  as  a  profession  to 
devote  the  rest  of  his  life  to  the  perfection  of  his  invention  of 
the  telegraph. 

CI  JOHN  ADAMS  (1735-1826).  Born  in  Quincy,  Massa- 
•^  J-  chusetts;  graduated  from  Harvard,  1755;  admitted  to 
the  bar,  1758;  member  of  the  Continental  Congress  1774- 
1778;  minister  to  the  Court  of  St.  James's,  1785;  first  vice- 
president  of  the  L^nited  States,  1 789-1 797;  second  president 
of  the  United  States,  1797-1801. 

(See  his  portrait  by  William  Winstanley,  No.  134  of  this 
exhibition.) 

On  canvas:    H.  30  inches;    W.  25  inches. 
Painted  in  18 16  for  George  Delaplaine. 

Lent  b}'  the  Misses  White. 
SI 


EARLY    AMTRICAN    PAINTINGS 


SAMUEL  KINLEV  I^REEZE  MORSE 

CONTINUED 

^/^  MOSS  KENT.     Judge  Moss  Kent   was  the  brother  of 
*^^  Chancellor  Kent  of  New  "S'ork.     Painted  in  Albany  in 
August,  1823.    See  "Life  of  S.  V.  B.  Morse,"  by  Edward  Morse, 
Vol.  I,  Pages  246-247. 
On  canvas:    H.  30  inches;    \\  .  25  inches. 


Lent  b\    Mr.  Erank  W.  Bayley. 

52 


MOSS    KENT    BY    SAMUEL    FINLEY    BREEZE    MORSE 


MARULIS    I)K    I.A    KAYETTE    BY    SAMUEL    FINLKY    BREEXE    MORSE 


53 


EARLY   AMERICAN    PAINTINGS 


SAMUEL  FINLEY  BREEZE  MORSE 

CONTINUED 

MARQUIS  DE  LA  FAYETTE.  This  portrait  of 
Marie  Joseph  Paul  Yves  Roch  Gilbert  du  Motier,  Mar- 
quis de  La  Fayette.  French  officer,  the  companion  of  Wash- 
ington, was  painted  ca.  1824  during  La  Fayette's  last  visit  to 
America  as  the  "Nation's  Guest."  It  is  said  to  be  the 
original  study  for  the  larger  portrait  now  hanging  in  the  New 
York  City  Hall.  Dunlap  in  his  biography  of  the  artist  speaks 
of  the  "full-length  of  La  Fayette"  which  occupied  his  time 
for  some  months  in  New  York  (1825).  Tuckerman  states 
that  he  had  "received  a  public  commission  to  paint  a  portrait 
of  La  Fayette  then  on  a  visit  to  this  country." 
On  canvas:    H.  48  inches;    W.  33 1  2  inches. 


The  property  of  the  Brooklyn  Museum. 
S3 


EARLY    AMKRICAN    PAINTINCS 


SAMUEL  FINLEY  UREEZE  MORSE 

CONTINUED 

C-1   STEPHEN   MIX   MITCHELL.    LL.I).    (1743-1835). 

^  '    Stephen    Mix    MitchelK     LL.I).    nt    Wethersfieici,    Con- 
necticut, lawyer,  delegate  to  Continental  Congress,  judge  of 
Hartford    County    court,    judge    of    Superior    and    Sui>renu- 
Courts  of  Connecticut,  United  States  senator. 
On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  hy  the  Connecticut  Historical  Society. 
54 


STEPHEN    MIX    MITCHELL    BY    SAMUEL    FINLEY    BREEZE    MORSE 


HANNAH    MITCHELL    BY    SAMUEL    FINLEY    BREEZE    MORSE 


EARLY   AMERICAN    PAINTINGS 


SAMUEL  FINLEY  BREEZE  MORSE 

CONTINUED 

qr  HANNAH  MITCHELL  (Mrs.  S.  M.  Mitchell).  Daugh- 
*^*^  ter  of  Donald  and  Arminel  (irant  and  wife  of  Stephen 
Mix  Mitchell.     Painted  at  the  artist's  home  in  New  York 
City  about  1825-1827. 
On  canvas:    H.  30  inches;    W.  24^4  inches. 


Lent  by  the  Connecticut  Historical  Society. 
55 


EARLY    AMFRKAN     I'AINIINGS 


SAMUEL  FINLE^-  BRKEZE  MORSE 

CONTINUED 

-^  Sl'SAN  W  Al.KKR  MORSK,  known  as  "TllK 
^^  MUSF.."  Sus.in  Walker  Morse,  a  daughter  ol  the 
artist,  was  about  seventeen  years  old  when  this  portrait  was 
painted  in  his  slutlio  in  the  old  L  niversity  Building'.  Wash- 
ington Square,  New  York.  She  married  Edward  l.iiul,  a 
planter  of  Porto  Rico,  hut  did  not  take  the  |)ortrait  with  her 
and  it  huni;  for  many  years  in  the  home  ot  I'rolessor  Morse, 
:;  West  22nd  Street.  Mrs.  Kind  died  in  1SS5  and  the  portrait 
passed  into  the  possession  ot  her  nieee.  Susan  land  Morse 
(Mrs.  CJeorge  K.  Perry)  by  gift  from  her  aunt.  Mrs.  Perry 
died  in  1910  and  bequeathed  the  portrait  to  her  husband  from 
whom  it  \yas  jnirehased.  It  has  been  exhibited  in  the  Metro- 
politan Museum.  Painteil  ea.  1S35. 
On  canvas:    H.  73}^  inches;    W.  573^2  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
56 


SUSAN  WALKER  MORSE,    "THE  MUSK,       BY    SAMUEL    FINLEY    BREEZE    MORSE 


LEVI    DICKSON    BY    JOHN    NEAGLE 


EARLY    AMERICAN    PAINTINGS 


JOHN  NEAGLE 

1799-1865 

"The  son-in-law  of  Sully,  was  born  in  Boston  while  his  parents, 
who  were  Philadelphians  were  on  a  visit  to  that  city,"  relates 
Tuckerman  in  his  "  Book  of  the  Artists."  He  was  principally 
self-taught  and  after  painting  in  Lexington,  Kentucky,  and 
New  Orleans,  he  returned  to  Philadelphia,  where  he  remained 
most  of  his  life.  He  ranks  among  the  prominent  painters  of 
his  time.  A  biography  written  by  Thomas  Fitzgerald  a  short 
time  after  the  artist's  death  can  be  found  in  Lippincott's 
Magazine,  Vol.  I,  pages  477-491,  1868. 

^7   LEVI  DICKSON.     Dickson  was  Neagle's  cousin.     The 

*"^'    portrait  was  acquired  by  the  present  owner  from  Garrett 

Neagle,  the  artist's  son. 

Painted  in  1834. 

On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  by  Mr.  John  Frederick  Lewis. 
57 


EARLY   AMERICAN    PAINTINGS 


JOHN  NEAGLE 

CONTINUED 

-o  SKRr.EANT  ANDREW  WALLACE  (1730- 1835). 
*^^  Andrew  Wallace  was  born  in  Inverness,  Scotland,  and 
died  in  New  ^'ork.  He  came  to  Anicriin  in  1752  and  entered 
the  Revolutionary  army,  April  177().  in  Chester  County. 
Pennsylvania;  later  was  a  sergeant  under  Anthony  Wayne 
which  rank  he  held  to  the  end  of  the  war.  It  is  said  that  he 
had  his  hands  badly  frost-bitten  crDssiii^  tlu-  Delaware  with 
Washington,  and  tin  rhat  icasdn  he  was  forced  to  wear  gloves 
during  the  remainder  of  his  life.  Thomas  Eitzgerald  in 
Neagle's  biography  (Lippincott's  Magazine,  Vol.  I)  states 
that  this  portrait  was  jiainted  in  Sergeant  Wallace's  loist 
year. 
On  canvas:    H.  30  inches;    W.  25  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 

58 


SERGEANT    ANDREW    WALLACE    BY    JOHN    NEAGLE 


PRESIDHNT    WILLIAM    HHNR^'    HARRISON     BY    BASS    OTIS 


Correctidii,  pas^e  sy,  line  4. 
For  Dunlax   read   Dunlap. 


EARLY  AMERICAN    PAINTINGS 


BASS    OTIS 

1784-1861 

Born  in  New  England,  he  was  established  in  New  York  as  a 
portrait  painter  about  1808.  He  removed  to  Philadelphia  a 
short  time  afterwards  as  he  exhibited  portraits  at  the  Academy 
in  1812.  Dunlay  describes  him  as  "a  portrait  painter  of 
strong  natural  talents  and  of  good  perception  of  character." 

rg  WILLIAM  HENRY  HARRISON  (1773-1841).  Born 
*^^  at  Berkeley,  Virginia,  the  son  of  Benjamin  Harrison,  a 
member  of  the  Virginia  House  of  Burgesses.  A  soldier  during 
the  earlier  part  of  his  life,  he  was  a  representative  in  Congress 
from  1S16  to  1819;  member  of  the  Ohio  Senate,  1819-1821; 
United  States  senator.  1S25-1828.  Elected  ninth  president 
of  the  United  States,  he  was  inaugurated  the  4th  of  March, 
1 841,  and  died  a  month  afterwards,  succeeded  by  the  vice- 
president,  John  Tyler,  whose  portrait  is  No.  114  of  this  exhi- 
bition. 

Other  portraits  of  William  Henry  Harrison  are  Nos.  3a,  50 

and  56  of  this  exhibition. 

On  canvas:   H.  30  inches;   W.  25  inches. 


Lent  by  Mr.  Alexander  Smith  Cochran. 
59 


EARLY    AMERICAN    PAINTINGS 


CHARLES  WILLSON  PEALE 

1741   1S27 

Portrait  painter.  Horn  in  Clicstcitown,  Md,;  died  in  Phila- 
dclpiiia.  I'ennsyivania.  lie  stuilied  lor  a  short  time  under 
Copley  and  went  to  England  in  176.S  and  studied  inider 
Benjamin  West.  After  his  return  in  1770  he  executed  many 
portraits  in  Annapolis  and  Baltimore  and  was  invited  to 
Mount  Vernon  in  1772,  where  he  painted  the  earliest  known 
portrait  of  Washington.  Established  a  museum  of  natural 
history  in  Philadeli)liia,  i7!^4.  the  lirst  museum  in  this 
country;  one  of  the  tounders  of  the  Pennsylvania  Academy 
ot  the  Une  Arts  in  1S05.     See  I'Orewonl  pages  xiv-xv. 

/-p.  CAPTAIN  ROBERT  ALLEN  (1761-1821).  In  his 
C)v/  uniform  as  captain  of  Company  B,  Ninth  Pennsylvania 
Regiment,  State  Troops,  in  the  Whiskey  Insurrection  of  1794. 
The  portrait  was  i)ainted  about  1795.  Captain  Alien  is 
reputed  to  have  been  the  son  of  the  ^'oung  Pretender,  Chevalier 
Charles  Edward  Stuart,  son  of  James  III  of  Scotland.  He  was 
born  in  Erance;  came  to  America  in  1792  and  died  in  Phila- 
delphia. He  was  commissioned  an  ensign  in  the  English  Army 
in  1774;  reached  the  rank  of  captain  about  1785;  married  in 
Aston  Church,  Birmingham,  England,  in  17S6,  Mary  Martha 
Earthing,  a  daughter  of  a  vicar  of  the  Church  of  England. 
He  sold  out  his  commission  in  the  English  Army  and  went 
to  Ireland,  thence  moving  to  Philadelphia  in  1792.  Cajjtain 
Allen  served  with  Wayne,  with  the  Pennsylvania  troops, 
against  the  Indians.  lie  is  buried  in  St.  Peter's  Church  Yard, 
Philadeli)hia. 
On  canvas:    H.  30  inches;   W.  25  inches. 

Lent  by  Mr.  John  Frederick  Lewis. 
60 


CAPTAIN    ROBERT    ALLEN    BY    CHARLES    WILLSON    PEALE 


MRS.    G.    BELL    BY    CHARLKS    WILI.SON    PEALE 


EARLY   AMERICAN    PAINTINGS 


CHARLES  WILLSON  PEALE 

CONTINUED 

/-  1    MRS.  G.  BELL.     Mrs.  G.  Bell  was  grandmother  of  the 
^ -*■    artist  and  great-grandmother  of    Miss  Odenheimer  in 
whose  collection  this  portrait  was  found. 
On  canvas:    H.  30  inches;   W.  24^4  inches. 


Lent  by  Mr.  Albert  Rosenthal. 
61 


EARLY    AMKRICAN    PAINTINGS 


CHARLES  WILLSON  PEALE 

CONTINUED 

/-^  COLONEL  TENCH  TILCJHMAN  (1744-1786).  Born 
^^  at  Fansley,  near  Eastoii,  Nhiryland,  eldest  son  ot"  James 
Tilghman  (1716-1793). 

In  1775  he  left  his  business  in  Philadelphia  to  take  part  in 
the  war  for  liberty,  and  from  August  1776  was  secretary  and 
aide-de-cani|>  to  Washington,  who  said  of  him  in  1781:  "He 
has  been  in  every  action  in  which  the  in;iin  army  was  con- 
cerned, and  has  been  a  faithtul  assistant  t<>  me  for  nearly 
5  years,  a  great  part  of  which  time  he  refused  to  receive  pay." 
He  attained  the  rank  of  lieutenant-colonel,  carried  the  news 
of  Cornwallis's  surrender  from  Yorktown  to  Philadelphia  in 
four  days  (October,  17S1 ),  and  received  from  Congress  thanks, 
a  sword  and  a  horse.  In  1784  he  established  a  branch  ol  the 
house  of  Robert  Morris  at  Baltimore,  and  died  there. 
This  portrait  was  |>urchascd  hv  the  present  owner  Ironi  a 
Mrs.  Skinner,  a  descendant  of  the  Tilghmans of  Eastern,  Mary- 
land, the  home  of  the  Tilghmans. 
On  canvas:    H.  30  inches;   W.  25  inches. 


Correcti')ii,  pa^c  62.  line  16. 
Vi,v  luistern.  Marxland.  read   Ka.ston,  Marvland. 


Lent  by  Mr.  Albert  Rosenthal. 
62 


COLONEL    TENCH    TILGHMAN    BY    CHARLES    WILLSON    PEALE 


GEORGE    WASHINGTON    BY    CHARLES    WILLSON    PEALE 


EARLY    AMERICAN    PAINTINGS 


CHARLES  WILLSON  PEALE 

CONTINUED 

/-^  GEORGE  WASHINGTON.  This  portrait  of  Wash- 
ington  shows  the  left  side  of  the  face  and  was  painted 
in  the  State  House  at  Philadelphia  contemporaneously  with 
the  Stuart  which  depicts  the  right  side.  What  has  always 
been  considered  the  original  from  life  of  this  type,  because  of 
its  being  in  the  Peale  Museum  collection,  is  now  owned  by  the 
New  York  Historical  Society — a  bequest  of  T.  B.  Bryan  of 
Philadelphia,  who  purchased  it  at  the  Museum  sale  in  1854. 
Charles  Henry  Hart  points  out  that  the  picture  now  exhibited 
differs  from  that  owned  by  the  Historical  Society  in  its  unusual 
freedom  and  in  its  having  a  curtain  draping  in  the  background, 
a  detail  not  in  any  other  example  of  this  type,  and  also  that 
the  twilled  canvas  accounts  for  many  of  its  good  qualities. 
What  appears  to  be  a  dimple  in  the  cheek  bears  witness  in 
reality  to  the  fact  that  Washington  at  the  time  of  the  sitting 
was  recovering  from  an  abscess  at  the  root  of  one  of  his  teeth. 
Painted  ca.  1795. 
On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
63 


EARLY    AMERICAN    PAINTINGS 


C'llARl.KS  WILLSON  PEALE 

CONTINUKD 

X  1    (il'.ORClK  WASHINGTON.     This  portrait  is  believed 

^'  '    to  liave  been  painted  for  the  Spanish  minister  and  sent 

to  the  United  States  consul   at  Madrid — a  Mr.  Carmichael. 

For  further  matter  mi  portraits  of  Washington  see  Foreword 

pages  X  and  xi. 

On  canvas:  H.  95  inches;   W.  61  inches. 

Signed:    C.  Jf.  Peale,  I/81. 


Lent  by  Mr.  Thomas  E.  Kirby. 
64 


GEORGE    WASHINGTON    BY    CHARLES    WILLSON    PEALE 


JAMES    HAMILTON    BY    JAMES    PEALE 


EARLY   AMERICAN    PAINTINGS 


JAMES  PEALE 

1749-183 1 

Born  in  Annapolis,  Maryland.  He  was  a  brother  of  Charles 
Willson  Peale  who  had  taught  him  the  art  of  painting.  He 
painted  portraits,  landscapes,  but  especially  miniatures.  A 
full-length  portrait  of  Washington  in  the  New  York  Historical 
Society  and  one  in  the  Independence  Hall  of  Philadelphia  are 
the  work  of  this  aitist.     He  died  in  Philadelphia. 

xr  JAMES    HAMILTON    (1750-1833).     Major    of    the 
^•^  Second  Pennsylvania  Line  in  the  Continental  Army,  1778 
and  father  of  the  Nullification  Governor  of  South  Carolina. 
President  of  the  South  Carolina  State  Society  of  Cincinnati. 
Panel,  oval:    H.  22^4  inches;   W.  193^2  inches. 


Lent  by  Mr.  Alexander  Smith  Cochran. 
65 


EARLY    AMERICAN     I'AINTINGS 


RKMI5RANDT  PEALE 

1 778- 1 860 

Portrait  and  figure  painter,  and  lithographer.  Born  in  Bucks 
County,  Pennsylvania,  died  in  Phihuielphia.  Second  son  of 
Charles  Willson  Peale.  Studied  with  his  father  and  in  1795, 
at  the  age  of  seventeen  years,  had  three  sittings  from  Wash- 
ington; his  composite  portrait  of  Washington,  painted  in 
1824,  was  bought  by  Congress  in  1832  for  two  thousand  dollars, 
and  is  in  the  Senate  Chainhcr  at  Washington.  He  studied 
with  West  in  London  in  1801,  and  later  made  several  visits 
to  Paris  and  London,  lie  was  one  of  the  original  members 
of  the  National  Academy  of  Design  and  a  director  of  the 
Pennsylvania  Academy  of  the  Fine  .Arts,  181 1-13. 

/^/^  WILLIAM  HENRY  HARRISON  (1773-1841).  Born 
^^  at  Berkeley,  Virginia,  the  son  of  Benjamin  Harrison,  a 
member  of  the  Virginia  House  of  Burgesses.  A  soldier  during 
the  earlier  part  of  his  life,  he  was  a  representative  in  Congress 
from  1816  to  1819;  member  of  the  Ohio  Senate,  1819-1821; 
United  States  senator,  1825  1828.  Elected  ninth  president 
of  the  United  States,  he  was  inaugurated  the  4th  of  March, 
1 841,  and  died  a  month  afterwards,  succeeded  by  the  vice- 
president.  John  Tyler,  whose  portrait  is  No.  1 14  of  this  exhibi- 
tion. Other  ])ortraits  of  William  Henry  Harrison  areNos.  3a, 
50  and  59. 
Painted  ca.  1814. 
On  canvas:   H.  28^  inches;   W.  z'iY^  inches. 

Lent  b\-  Mr.  Herbert  Lee  Pratt. 
66 


PRESIDENT    WILLIAM    HENRY    HARRISON    BY    REMBRANDT    PEALE 


WILLIAM     Hill      in     RlMliRANDT    PEALE 


EARLY    AMERICAN    PAINTINGS 


REMBRANDT  PEALE 

CONTINUED 

x^  WILLIAM  HILL  (1792-1827).  William  Hill  was  born 
^'  and  died  in  Philadelphia,  the  son  of  John  Hill  and 
Letitia  Hamill.  He  married  Anne  Mason  in  May,  1812.  He 
was  a  prominent  merchant.  This  portrait  and  that  of  his 
wife  were  painted  about  1818.  This  portrait  is  still  in  the  pos- 
session of  a  descendant. 
On  canvas:    H.  24  inches;   W.  20  inches. 


Lent  by  Mrs.  James  L.  Morgan. 
67 


EARLY    AMERICAN    PAINTINGS 


REMBRANDT  PEALE 

CONTINUED 

/^o  MR^-  WILLIAM  HILL  (1793-1826).  Anne  Mason 
^^  was  born  in  Cincinnati,  Ohio,  the  daughter  of  Joseph 
Mason  and  Sarah  Manlove.  Her  brother  was  Dr.  Joseph  R. 
Mason,  the  ornithologist,  who  travelled  with  Audubon,  and 
painted  scientific  studies  of  birds.  This  portrait  is  still  in  the 
possession  of  a  descendant. 
On  canvas:    H.  24  inches;   W.  20  inches. 


Lent  by  Mrs.  James  L.  Morgan. 
68 


MRS.    WILLIAM    HILL    BY    REMBRANDT    PEALE 


CHIKK    JUSTICK    JOHN    MARSHALL    BY     REMBRANDT    I'EALE 


69 


EARLY   AMERICAN    PAINTINGS 


REMBRANDT  PEALE 

CONTINUED 

CHIEF  JUSTICE  JOHN  MARSHALL  (1755-1835). 

Born  in  Virginia,  the  son  of  Thomas  Marshall  (1732- 
1806)  and  his  wife  Mary  Isham  Keith.  Captain  in  the  Con- 
tinental Army  during  the  War  of  Independence,  he  resigned  his 
commission  in  1781  and  was  admitted  to  the  bar  shortly 
afterwards;  secretary  of  state  under  President  Adams,  1800- 
1801 ;  chief  justice  of  the  Supreme  Court  of  the  United  States 
1801  until  his  death.  Author  of  a  biography  of  George 
Washington  (5  volumes  1804-1807  and  2  volumes  1832). 
This  portrait  was  painted  in  Washington  not  long  before  the 
death  of  the  Chief  Justice.  It  was  purchased  from  the  artist 
by  the  Hon.  James  Humphrey,  of  Brooklyn,  and  upon  his 
death  in  1866  was  presented  to  the  Long  Island  Historical 
Society. 
On  canvas:   H.  30  inches;   W.  25  inches. 


Lent  by  the  Long  Island  Historical  Society. 
69 


EARLY    AMKRICAN    PAINTINCS 


REMBRANDT  PEALE 

CONTINl'ED 

70  ('KORGE  TAYLOR  of  Philadelphia. 

On  canvas:    H.  57I  2  inches;   W.  36  inches. 
Collection  of  P'liza  Herriman  Griffith. 


The  propert}'  of  the  Brooklyn  Museum. 

70 


GEORGE    TAYLOR    BY    REMBRANDT    PEALE 


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^^H 

^^^^^^^^^^^^^^^^^^^H^«   j^^^^^^^^^^^^l 

■ 

GEORGE    WASHINGTON    BY   REMBRANDT    PEALE 


FARI,Y    AMERICAN     PAINTINGS 


REMBRANDT  V¥.\\  V. 

CONTINUED 

^1  GE0R(;E  WASHINGTON.  Painted  in  1795.  Rem- 
'  -*■  brandt  Peale  tells  us  that  for  this  portrait  Washington 
gave  him  three  sittings  of  three  hours  each,  and  when  finished, 
the  canvas,  wet  from  the  easel,  was  packed  up  and  taken  to 
Charleston,  South  Carolina,  where  he  painted  ten  replicas  of 
it,  "which  were  valued  as  the  most  recent  likeness."  The 
canvas  exhibited  was  painted  for  the  distinguished  General 
Christopher  Gadsden  of  South  Carolina,  from  whom  it 
descended  to  his  grandson  Christopher  Gadsden  Morris  and 
from  him  to  his  niece  Miss  Hume,  who  married  Frederick 
Wentworth  Ford,  the  parents  of  the  present  owner.  The 
family  mansion  in  Charleston  where  it  hung  was  destroyed  by 
fire  in  1861  and  this  portrait  of  Washington  with  one  of 
General  Gadsden  that  hung  opposite  to  it,  were  the  only  items 
of  importance  saved.  (From  notes  supplied  by  Mr.  Charles 
Henry  Hart.) 
On  canvas:    H.  iq  inches;    W.  24^4  inches. 


Lent  by  Mr.  Chnrles  Henry  Hart,  Attornt-v   tm  Mrs.  Lewis  S.  Jervey 

71 


HARI.^     AMKRKAN     I'AINIINCIS 


REM  BRAN  Dl    PKAI.K 

CONTINUED 

-j^  CKORtJK  WASHINGTON.  (Port-hole  type).  "This 
'  ^  is  thf  type  commonly  known  as  "Rembrandt  Peale's 
Washinj^ton  "  and  ot  it  the  artist  painted  seventy-nine  copies. 
It  being  a  made-up  head  it  cannot  be  accepted  as  a  reliable 
portrait  of  the  "Father  ot  his  Country,"  but  it  is  decorative 
and  attractive  as  a  picture.  (From  notes  supplied  by  Charles 
Henry  Hart.i 

On  canvas:    H.  36  inchcb;    \\  .  29  inches. 
Signed:    Revihrayidt  Pralc. 


Lent  b\   Mr.  Herbert  Lee  Pratt. 

72 


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Ut()RC;i:     V\  ASHINC.ION     RT-iiiiLE  TVPhi    B>      RIMHKANDT    PEALE 


CENERAI.    HdRATIO    GATES    BY    ROBERT    EDGE    PINE 


EARLY   AMERICAN    PAINTINGS 


ROBERT  EDGE  PINE 

1730-1788 

Born  in  England,  came  to  America  in  1783  and  was  in  Phila- 
delphia in  1784.  Portrait  and  historical  painter;  he  is  known 
to  have  made  a  portrait  of  Washington  at  Mount  Vernon  in 
1785.  Washington  AUston  wrote  of  this  artist:  "In  the 
coloring  of  figures,  the  pictures  of  Pine,  in  the  Columbian 
Museum  in  Boston,  were  my  first  masters." 

-^  ^  GENERAL  HORATIO  GATES  (1728- 1806).  A  noted 
'  *^  American  general,  born  in  England.  He  was  educated 
for  the  army,  and  came  to  America  when  about  twenty-seven 
years  of  age,  with  the  British  general,  Braddock,  at  whose  defeat 
he  was  badly  wounded.  At  the  close  of  the  war  he  settled  in 
Virginia;  but  when  the  Revolutionary  War  began,  he  joined 
Washington.  He  received  the  surrender  of  Burgoyne  at 
Saratoga,  October  17,  1777.  In  1780  he  lost  the  battle  of 
Camden  and  was  succeeded  by  General  Greene.  He  died  in 
New  York. 
On  canvas:    H.  30  inches;    W.  25  inches. 


Lent  by  Mr.  Alexander  Smith  Cochran. 

73 


EARLY    AMKRICAN    PAINTINGS 


ROBERT  EDGE  PINE 

CONTINLED 

•ji  CKNKRAL  IlKNin'  LKE  (General  '■  l^i.ulitliorse" 
'  '  Harry  Lee)  I1756-1S18).  Henry  l>ee,  soldier  and 
governor  of  Virginia,  born  in  Westmoreland  County,  Virginia; 
educated  at  Princeton  College,  New  Jersey;  graduated  in  1774. 
Joined  army  in  1777.  His  skill,  his  discipline  and  his  inanK 
and  soldier-like  hearing  attracted  notice  of  the  comin.uuler-in- 
chief,  iiul  he  was  promoted  to  major,  and  given  command  ot  a 
separate  cavalry  corps,  which  included  three  c()m]Kiiiies,  and 
was  known  as  "Lee's  Legion.  "  From  this  command  he 
received  the  name  of  "Lighthorse  Harry."  Received  gold 
medal  for  daring  and  successful  attempt  to  surprise  and 
capture  British  garrison  at  Paulus  Hook.  Married  his 
cousin  Matilda  Lee,  and  resided  at  her  home,  Stratford  House. 
Chosen  to  pronounce  funeral  oration  on  Washington,  and  there 
said  "First  in  war,  first  in  jieace.  and  first  in  tlie  hearts  ot  his 
countrymen.'"  He  was  the  father  of  Robert  F.  Lee. 
This  portrait  was  exhibited  at  the  Panama-Pacific  FLxposition. 
On  canvas:    H.  24  inches;   W.  19  inches. 


Lent  by  Mr.  John  Frederick  Lewis. 
74 


GENERAL    HENRY    LEE    BY    ROBERT    EDGE    PINE 


GEORGE    WASHINCnON    BY    ROBERT    EDGE    PINE 


EARLY   AMERICAN    PAINTINGS 


ROBERT  EDGE  PINE 

CONTINUED 

-y^  GEORGE  WASHINGTON.  This  portrait  is  particu- 
'  *^  larly  interesting  as  showing  a  type  not  familiar  to  the 
general  public.  Pine  painted  at  least  four  portraits  of  Wash- 
ington. From  entries  in  Washington's  diary  we  know  that 
Pine  spent  about  three  weeks  at  Mount  Vernon,  the  first 
entry  being  as  follows: 

"1785.  April  28th,  Thursday. — To  dinner  Mr.  Pine,  a 
pretty  eminent  Portrait  &  Historical  Painter  arrived  in  order 
to  take  my  picture  from  the  life  &  to  place  it  in  the  Historical 
pieces  he  was  about  to  draw." 

This  portrait  was  purchased  in  Montreal  in   1817  by  Henry 

Brevoort,  descended  to  his  son  J.  Carson  Brevoort  of  Brooklyn, 

and  is  still  in  the  possession  of  his  descendants. 

Taken  from  Foreword,  page  xiii. 

On  canvas:    H.  3524  inches;   W.  283^  inches. 


Lent  by  Mr.  Grenville  Kane. 
75 


FARIV     AMI  RICAN     TAINTINCS 


ROBERT  EDGE  PINE 

CONTINUKD 

-7/^  MARY  BALI.  WASHINGTON  (1706  or  1708-1789). 
'  ^  Daughter  of  Joseph  Ball,  of  Epping  Eorest,  Virginia, 
and  wife  of  Augustine  Washington,  whom  she  married  in  1730. 
Mother  of  George  Washington,  who  was  born  February  22, 

1732- 

On  canvas:    H.  21^  •>  inches;   W.  18  inches. 


Lent  by  Mr.  W.  Lanier  Washington. 

76 


MARY    BALL    WASHINGTON    BY    ROBERT    EDGE    PINE 


MRS.    PETER    DE    LANCEY    BY    MATTHEW    PRATT 


EARLY    AMERICAN    PAINTINGS 


MATTHEW  PRATT 

1 734-1 805 

Born  in  Philadelphia,  the  son  of  a  goldsmith,  he  was  appren- 
ticed at  fifteen  to  his  uncle,  James  Claypool,  a  "limner  and 
painter  in  general."  He  went  to  England  in  1764,  where  he 
remained  for  four  years.  In  1770,  he  went  again  to  England 
and  Ireland,  but  only  for  a  very  short  time,  and  returned  to 
Philadelphia,  never  to  leave  it  again.  He  is  said  to  have 
painted  the  earliest  portrait  of  Benjamin  Franklin.  He  is  the 
author  of  a  number  of  portraits  and  miniatures,  and  of  "many 
signs  for  public  houses,  of  high  character,  well  colored  and 
well  composed,"  all  of  which  have  disappeared. 

-y-y  MRS.  PETER  DE  LANCEY  (1719-1784).  Elizabeth 
'  '  Colden,  daughter  of  Lieutenant-Governor  Cadwallader 
Colden,  married  in  1737  or  1738,  Peter  De  Lancey  (1705- 
1770),  a  man  of  great  wealth  and  influence  in  New  York  who 
sat  in  the  Assembly  for  eighteen  consecutive  years.  They 
had  twelve  children,  seven  sons  and  five  daughters,  from  whom 
there  are  many  descendants.  (From  notes  supplied  by  Charles 
Henry  Hart.) 
Painted  ca.  1772. 
On  canvas,  oval:    H.  29^  inches;   W.  25  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
77 


EARLY    AMERICAN    PAINTINGS 


CHARLES  BAL niAZARJLLlEN  KEVRETdeST.  MEMIN 

1770-1852 

Born  in  DiJDii,  France;  died  there.  \\  ent  to  Canada  in  1793, 
and  soon  afterward  to  New  York.  Saint  Memin  introduced 
into  this  country  a  machine  by  means  of  which  the  human 
profile  could  be  copied  with  mathematical  accuracy.  His  life- 
size  profiles,  on  pink  paper,  finished  in  black  crayon,  were 
mechanically  reduced  and  enj^raved  within  a  circle  two  inches 
in  diameter.  By  this  means  he  took  in  this  country  more 
than  eij^ht  hundred  portraits,  and  is  therefore  generally 
included  among  .American  artists.  He  reserved  a  few  proofs 
of  each,  and  a  C()m|)lete  set.  with  the  name  of  each  subject, 
is  at  the  Corcoran  Gallery,  Washington,  District  of  Columbia. 
In  1817  he  was  appointed  director  of  the  museum  at  Dijon, 
where  he  remained  until  his  death. 

78  JAMES  CAMPBELL. 

On  paper:    H.  21  inches;    W.  15^^  inches. 

Lent  bv  Mr.  Herbert  Lee  Pratt. 


-jQ   LHEODORE  GOURDIN. 

'  ^   .Another  portrait  by  Sully  is  No.  loy  of  this  exhibit 

On  paper:    H.  21V2  inches;   W.  15^  inches. 

Lent  by  Mr.  John  Hill  Morgan. 

80  SETH  HASTINGS  (1762-183 1). 
On  paper:    H.  22j^  inches;   VV.  17  inches. 

Lent  by  Mr.  Herbert  Lee  Pratt. 

qY    a  Philadelphia  Gentleman. 

On  paper:    H.  22  inches;   W.  15!/^  inches. 

Lent  by  Mr.  R.  T.  H.  Halsey. 
78 


ion. 


JAMES    CAMPBELL 
THEODORE    GOURDIN 


SETH    HASTINGS 

A    PHILADELPHIA    GENTLEMAN 


BY    CHARLES    BALTHAZAR    JULIEN    FEVRET    DE    SAINT    MEMIN 


GENERAL    HKNRY    KNOX     BY    EDWARD    SAVAGE 


EARLY    AMERICAN    PAINTINGS 


EDWARD  SAVAGE 

1761-1817 

Born  in  Princeton,  Massachusetts,  and  died  there.  *'There  is 
good  evidence  that  he  was  originally  a  goldsmith,  but  he  must 
have  abandoned  this  occupation  early  in  life  as  we  find  him 
at  twenty-eight  years  of  age  equipped  with  a  letter  to  General 
Washington,  in  New  York,  requesting  him  to  sit  for  his 
portrait,  which  portrait  is  now  at  Harvard  University.  The 
portrait,  begun  in  December  1789,  was  finished,  according  to 
Washington's  diary,  the  following  month.  .  .  .  He  went  to 
London  in  1791  and  later  to  Italy.  .  .  .  He  was  back  in 
America  in  1794.  He  practiced  his  profession  of  portrait 
painter  and  engraver  in  Boston,  Philadelphia  and  New  York. 
He  also  painted  miniatures."  F.  W.  Bayley's  "Little  Known 
Early  American  Portrait  Painters." 

n^  GENERAL  HENRY  KNOX  (1750-1806).  Born  in 
O^  Boston.  Through  study  and  conversation  with  Boston 
officers  who  frequented  his  book-store,  he  became  proficient 
in  military  theory  and  practice;  he  had  to  flee  from  Boston 
in  disguise  on  account  of  his  American  patriotism.  His  wife 
carried  his  sword,  quilted  into  the  lining  ot  her  coat.  He 
entered  recruiting  service;  reported  conditions  at  Bunker  Hill; 
corresponded  with  John  Adams  concerning  plan  for  reorgan- 
ization of  the  army;  was  appointed  colonel  of  one  artillery 
regiment;  was  one  of  Washington's  right  hand  men.  He 
founded  the  Society  of  the  Cincinnati,  the  purpose  of  which 
was  to  perpetuate  friendships  among  oflficers. 
On  canvas:    H.  27^4  inches;   W.  24  inches. 


Lent  b\-  Mr.  Alexander  Smith  Cochran. 
79 


EARLY    AMERICAN    PAINTINGS 


JAMES  SHARPLtS 
1 7  5  I  - 1 8 1  I 

Born  in  England;  died  in  New  York  City.  He  studied  art 
witii  Cieorge  Romney,  and  decided  to  adopt  painting  as  his 
profession.  In  I7')4  lie  lame  with  his  tamilv  to  .Amerita. 
He  travelled  with  horse  and  wagon  from  town  to  town,  i)aint- 
ing  small  portraits,  chieHy  in  pastel.  There  are  over  a  hun- 
dred of  these  pastel  portraits  in  Independence  Hall,  Phila- 
delphia. He  spelled  his  name  Sharpless  in  England,  but 
dropped  the  last  letter  when  he  lame  to  this  country. 

no    DR.  ELIHU  SMITH  of  New  York,  son  of  Dr.  Reuben 
OD   Smith.      Painted    ca.     1795-1797,    at    Litchfield,    Con- 
necticut. 
Pastel:  H.  10  inches;   \V.  8  inches. 

Lent  by  Mr.  Walter  H.  Crittenden. 

0  4    DR.    REUBEN    SMITH    of    Litchfield,    Connecticut, 
O   '    father  of  Dr.   Elihu  Smith.      Painted  ca.   1795-1797,  at 
Litchfield,  Connecticut. 
Pastel:  H.  10  inches;   W.  8  inches. 

Lent  by  Mr.  Walter  H.  Crittenden. 

OCT  CHARLOTTE  TABB  (Mrs.  Lemuel  Nicholson). 

00   Painted  in   1800. 

Pastel:  H.  8  inches;    W.  10  inches. 

Lent  by  Mr.  John  Hill  Morgan. 

O /-   EMORY  TABB  (Mrs.  Thomas  Parramore). 

OO    Painted  in  1800. 

Pastel:  H.  8  inches;    \V.  10  inches. 

Lent  by  Mr.  John  Hill  Morgan. 

0-7  GEORGE  WASHINGTON  (profile). 
O'  Pastel:  H.  10  inches;  W.  7^4  inches. 
From  the  collection  of  Lord  Helper. 

Lent  by  Mr.  John  Pierpont  Morgan. 

OC)  GEORCiE  WASHINGTON  (full  face). 
00   Pastel:    H.  9  inches;   W.  7  inches. 

Lent  by  Mr.  Herbert  Lee  Pratt. 

80 


EMORY    TABB 

GEORGE    WASHINGTON 

DR.    ELIHU    SMITH 


CHARLOTTE    TABB 

GEORGE    WASHINGTON 

DR.    REUBEN    SMITH 


BY    JAMES    SHARPLES 


ALEXANDER    GARDEN    BY    JOHN    SMIBERT 


EARLY   AMERICAN    PAINTINGS 


JOHN  SMIBERT 

I688-I75I 

Also  spelled  Smybert.  He  was  born  in  Edinburgh,  Scotland; 
died  in  Boston,  Massachusetts.  Served  his  time  with  a  house 
painter  and  in  London  worked  for  coach  painters;  studied  for  a 
time  in  Sir  James  Thornhill's  Academy  in  London,  then  spent 
three  years  in  Italy.  On  his  return  to  London  he  renewed  his 
acquaintance  with  Dean  Berkeley  (afterwards  Bishop)  and  was 
engaged  by  him  as  professor  of  fine  arts  for  the  projected 
college  at  Bermuda.  Accompanied  the  Dean  to  America 
and  landed  at  Newport  in  January,  1729;  went  to  Boston  and 
established  himself  as  a  portrait  painter. 

OQ  ALEXANDER  GARDEN.     This  gentleman,  a  rector 
^  ^   and  author,  was  born  in  1685  and  died  in  1756. 
On  canvas:    H.  29  inches;   W.  24  inches. 


Lent  by  Mr.  Thomas  B.  Clarke. 
81 


EARLY    AMERICAN    PAINTINGS 


GILBERT  STUART 

1755-1828 

Born  in  Narrajjansett,  Rhode  Island;  died  in  Boston.  Re- 
ceived some  instruction  from  Cosmo  Alexander,  a  Scotch 
portrait  |)ainter,  who  visited  America,  and  whom  Stuart 
accompanied  to  Scotland  in  1772,  returninj^  to  America 
after  his  master's  death.  In  1775  he  went  to  Kngland  and 
was  employed  as  assistant  by  Benjamin  West;  later  set  up  his 
own  studio  and  was  a  successful  [)ortrait  painter  in  London 
and  Dublin.  Returning  to  America  in  1792,  he  worked  in 
New  "^'ork  City,  Philadelphia  and  W'ashint^ton,  and  finally 
settled  in  Boston,  .'\mong  his  best  |)ortraits  are  those  of 
Washington-- one  known  as  the  "Athenaeum"  (unfinished) 
in  the  i^oston  Museum  of  Fine  Arts,  and  the  "(libbs-Chan- 
ning-Avery"  iinrtr.iit  at  the  Metropolitan  Museum  of  Art. 
Mason's  ''Life  and  Works  of  (lilhert  Stuart"  mentions  iiKjre 
than  six  hundred  portraits  by  this  artist. 

Q/^  COLONEL  ISAAC  BARRE  (1726-1802).  Colonel 
yyy  Barr^  was  burn  in  Dublin.  He  was  the  son  of  a  French 
refugee,  and  entered  the  British  army  and  fought  with  Wolfe 
at  Quebec,  where  he  was  wounded  in  the  cheek.  Barre  is 
represented  in  the  group  around  Wolfe  in  Benjamin  West's 
celebrated  picture  "The  Taking  of  Quebec."  He  was  very 
popular  in  Anicrica  tor  having  (>|)p(isc-(l  the  taxation  of  the 
American  Colonies  in  1765.  In  1766  he  was  made  treasurer 
of  Ireland.  The  towns  of  Barre.  Xermont,  and  Barre,  Massa- 
chusetts, were  named  after  him,  and  that  of  Wilkesbarre  in 
conjunction  with  Wilkes. 
On  canvas:    H.  36  inches;   W.  281:4  inches. 

The  property  of  the  Brooklyn  Museum. 


COLONEL    ISAAC    BARRE     BY    GILBERT    STUART 


CAPTAIN    JOHN    CHESTNUT    BY    GILBERT    STUART 


EARLY   AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

Ql  CAPTAIN  JOHN  CHESTNUT  (1743-1813).  John 
■^  -*■  Chestnut  was  born  in  the  Valley  of  Virginia.  He  was 
brought  to  South  Carolina  by  his  mother  and  step-father 
(Jasper  Sutton)  when  he  was  thirteen  years  old.  At  the  out- 
break of  the  Revolution  he  became  attached  to  the  Third 
South  Carolina  Regiment  and  served  as  paymaster  with  the 
rank  of  captain.  He  later  obtained  command  in  the  militia 
and  served  during  the  Georgia  campaign.  He  was  taken 
prisoner  on  the  evacuation  of  Charleston  in  1780,  and  paroled 
to  his  plantation  at  Knight's  Hill.  Refusing  the  demand  of 
Lord  Rawdon  to  take  up  arms  against  his  countrvmen  in 
August  1780,  he  was  thrown  in  prison  and  chained  to  the 
floor,  and  bore  to  his  grave  the  marks  of  the  irons  upon  his 
ankles.  In  1788  he  was  a  member  of  the  Convention  to 
frame  the  Constitution.  In  1793-1796  he  was  member  of  the 
state  Senate  and  a  trustee  of  the  South  Carolina  College. 
He  married  in  the  year  1770  Sarah  Cantey,  daughter  of 
Captain  John  Cantey. 
On  canvas:  H.  29  inches;  W.  233^^  inches. 
Collection  of  Davis  Rogerson  Williams,  great-great-grandson 
of  Captain  Chestnut. 


Lent  b}'  Mr.  Herbert  Lee  Pratt. 
83 


EARI.Y    AMKRICAN     PAINTIN(;S 


GILBERT  STUART 

CONTINL  KI) 

Q^  I.\l)^'  FRANCES  ERSKINK  (1781-1843).  Frances 
^"^  Cadw.ilader.  the  daughter  of  General  John  Cadwahider, 
was  born  in  l'liiladel[)hia.  At  eijjhteen  she  married  her  kins- 
man, David  Montague  Frskine,  hiter  second  Baron  Frskine, 
who  was  secretary  to  the  British  legation  at  Washington. 
On  canvas:    H.  2<;  inches;    \\  .  24  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 

84 


LADY    FRANCES    ERSKINE    BY    GILBERT    STUART 


GENERAL    PETER    GANSEVOORT    BY    GILBERT    STUART 


EARLY   AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

Q^  GENERAL  PETER  GANSEVOORT  (1749-1812). 
y  -^  Peter  Gansevoort,  Jr.,  was  born  in  Albany.  A  zealous 
patriot,  he  was  made  major  of  the  second  New  York  regiment 
in  1775,  and  joined  General  Montgomery's  expedition  against 
Quebec.  In  1777  he  defended  Fort  Stanwix  for  twenty  days 
against  the  British  and  Indians  under  St.  Leger  and  thus  pre- 
vented the  reinforcement  of  Burgoyne  at  Saratoga.  For  this 
he  received  the  thanks  of  Congress.  He  was  made  brigadier- 
general  in  the  regular  army  in  1S09.  He  was  a  regent  of 
the  University  of  the  State  of  New  York;  commissioner  of 
Indian  Affairs;  commissioner  for  fortifying  the  frontier  and 
military  agent  for  the  War  Department.  He  wears  the  deco- 
ration of  the  Order  of  the  Cincinnati.  This  portrait  is  owned 
by  his  granddaughter. 
On  canvas:    H.  30  inches;    W.  25  inches. 


Lent  by  Mrs.  Abraham  Lansing. 
8S 


EARl.V    AMIRICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

Q  I  HON.  THOMAS  B.  LAW  (1756-1834).  Thomas  Law 
•^  '  was  the  son  of  Rt.  Rev.  Edmund  Law.  Lord  Bishop  of 
Carlisle,  and  younger  brother  of  Lord  Ellenborough,  Lord 
Chief  Justice  of  the  King's  Bench.  His  early  life  was  spent 
in  official  position  in  India,  and  he  came  to  this  country  in  the 
summer  of  ly^)^  and  settled  in  the  Federal  City,  as  Washington 
was  then  c  ailed,  where  he  died. 
Fainted  ca.  iSoo. 
On  canvas:    H.  29  inches;    W.  24  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 

86 


THOMAS    B.    LAW    BY    GILBERT    STUART 


MRS.    THOMAS    B.    LAW    BY    GILBERT    STUART 


EARLY   AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

Q^  MRS.  THOMAS  B.  LAW  (1776-1832).     Eliza   Parke 
■^  "^  Custis  Law  was  a  granddaughter  of  Mrs.  Washington 
and  married,  when  she  was  twenty,  Thomas  Law. 
Painted  ca.  1795. 
On  canvas:    H.  29  inches;    W.  24  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
87 


EARLY    AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

Q/-  JAMES  MADISON  (1751-1836).  Born  in  \'ir^inia, 
-^^  the  son  of  James  Madison.  Graduated  from  the  C(jllcge 
of  New  Jersey  (now  Princeton  University)  in  1771;  delegate 
to  the  new  Virginia  Convention,  1776;  delegate  to  the  Con- 
tinental Congress,  1 779-1783;  iiicinhcr  nt  the  House  of 
Representatives,  1789.  Fourtli  president  of  the  United  States, 
1809;  re-elected,  1813,  defeating  I)e  Witt  Clinton,  whose 
portrait  is  No.  4::;  of  this  cxhihition.  Inman's  portrait  of 
Madison  is  No.  41  of  this  exhibition. 

Stuart  painted  at  least  two  sets  of  the  first  five  presidents  of 
the  United  States.  The  set  of  which  this  portrait  was  one, 
was  painted  for  John  Doggett,  a  j)icture  dealer  and  frame 
maker  of  Boston.  He  sold  the  five  portraits  to  Abel  Phillips 
and  thev  hung  for  some  time  in  the  Congressional  Library  in 
Washington.  The  portraits  of  Washington,  Adams  and 
Jefferson  were  destroyed  by  fire  in  1S51.  hut  the  Madison 
and  Monroe  were  saved  and  became  the  property  ol  the  late 
A.  A.  Low  of  Brooklyn. 
On  canvas:    H.  40  inches;    W^  32  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 


PRESIDENT   JAMES    MADISON    BY    GILBERT    STUART 


JUDGE    THOMAS    MCKEAN     BY    GILBERT    STLART 


EARLY    AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

gy  JUDGE  THOMAS  McKEAN  (1734-1817).  Thomas 
^  '  McKean  was  a  man  of  much  distinction  and  held  in 
high  esteem  by  his  contemporaries.  ■  A  signer  of  the  Declara- 
tion of  Independence,  president  of  the  Continental  Congress, 
and  chief  justice  and  governor  of  Pennsylvania.  He  wears 
the  decoration  of  the  Order  of  the  Cincinnati.  This  is  the 
earliest  portrait  known  by  Stuart  painted  on  wood.  (From 
notes  supplied  by  Charles  Henry  Hart.) 
Painted  ca.  1802. 

Panel:   H.  29  inches;   W.  23'^4  inches. 
Engraved  by  David  Edwin. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
89 


EARLY    AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

QQ  SAMl'KL  An'KRS  (1755-1836).  Samuel  Myers,  the 
'^  ^  son  of  Myer  Myers,  a  banker  and  the  foremost  New 
York  silversmith  of  his  day,  was  horn  in  New  York  City. 
Because  of  the  activities  of  the  elder  Myers  the  family 
were  forced  to  flee  to  Connecticut  upon  the  occupation  of 
New  York  hv  the  British.  Samuel  Myers  went  to  Holland 
where  he  resided  for  several  years,  and  shortly  after  the 
Revolution  moved  to  Richmond,  Virginia,  and  established  a 
banking  house.  In  \jqf>  he  married  Judith  Hays  of  Boston. 
The  portrait,  painted  in  1810,  is  noted  as  No.  429  in  the 
Boston  Museum  of  Fine  Arts  Catalogue  of  the  Stuart  E.\hi- 
bition  published  in  1S80,  and  is  owned  by  his  great-grand- 
daughter. A  replica,  or  copy  possibly  by  Jane  Stuart,  is 
owned  in  Boston. 
Panel:    H.  30  inches;   W.  24  inches. 


Lent  by  Mrs.  John  Hill  Morgan 
90 


SAMUEL    MYERS    BY    GILBERT    STUART 


CAPTAIN    RICHARD    PEARSON    BY    GILBERT    STUART 


EARLY   AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

QQ  CAPTAIN  RICHARD  PEARSON,  R.  N.  (1731-1806). 

^^    Richard  Pearson  was   the  commander  of  the  "Serapis" 

in  her  famous  fight  with  John  Paul  Jones  in  the  "Bon-homme- 

Richard,"  and  for  his  defence  of  the  ship  the  king  bestowed 

upon   him  knighthood,  which  caused  Jones  to  say  when  he 

heard  of  it  that  he  hoped  "some  day  he  would  cause  him  to 

be  made  an  Earl."     (From  notes  supplied  by  Charles  Henry 

Hart.) 

Painted  ca.  1788. 

On  canvas:    H.  30  inches;   W.  2484  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
91 


EARLY    AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

1  C\C\  <-'<^^^^NEL  WILLIAM  STEPHENS  SMITH  (1754- 
-^  ^^  1S16).  William  Stephens  Smith  was  born  in  New 
York  City;  graduated  from  the  College  of  New  Jersey  with 
the  class  of  1774.  At  the  outbreak  of  the  Revolution  he  ran 
away  from  home  and  enlisted  as  a  private  in  the  Continental 
Army.  He  served  successively  as  major  and  aide-de-camp 
under  (leneral  Sullivan  in  1777,  and  of  Spencer's  regiment  in 
1779-81.  He  became  aide-de-camp  to  General  Washington 
and  served  also  on  La  Fayette's  staff.  In  1784  Washington 
appointed  him  secretary  of  the  Legation  at  the  Court  of 
St.  James  where  he  married  Abigail,  the  daughter  ot  John 
Adams.  He  was  an  "assistant"  or  a  master  of  ceremony  at 
Washington's  inauguration  in  1789.  He  superintended  tiie 
evacuation  of  New  York  by  the  British,  was  made  super- 
intendent of  Internal  Revenue  and  later  surveyor  and  in- 
spector of  the  Port  of  New  York.  He  was  a  member  of 
Congress  in  the  years  1813-14. 

Reproduced  in  "History  of  the  Centennial  of  the  Inauguration 
of  Washington,"  Clarence  W.  Bowen,  page  41. 
Painted  ca.  1794. 

On  canvas:    H.  30  inches;   W.  25  inches. 
Collection    of     Dr.    William    Whitmore     Gray,    Bridgeport, 
Connecticut. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
92 


COLONEL    WILLIAM    STEPHENS    SMITH    BY    GILBERT    STUART 


GEORGE    WASHINGTON    (atiicnaeum  type)    BV    GILBHRT    STUART 


EARLY    AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

-1  r\  1  GEORGE  WASHINGTON  (Athenaeum  type).  This 
^  ^ -*-  portrait  was  painted  in  Washington's  lifetime  as  it 
belonged  to  J.  Seb""  de  Franca  of  Devonshire  Place,  London. 
The  engraving  made  of  this  portrait  by  William  Nutter  was 
published  by  Robert  Cribb  in  London,  January  15,  1798. 
(Charles  Henry  Hart:  Engraved  Portraits  of  Washington, 
No.  428.)  (Baker:  294.) 
On  canvas:    H.  29  inches;   \Y.  24  inches. 


Lent  by  the  Ehrich  Galleries. 
93 


KARI.Y    WIIRU  AN     I'AINTINGS 


GILBERT  STUART 

CONTINUED 

1  /-.^  (;F()R(n-.  \\\SIIIX(Vr()N  (Vaughn  type).  This 
-*■  ^"^  canvas  is  called  the  "Hanson  Washinj^ton "  from 
having  orij^inally  been  owned  by  Alexander  Contee  Hanson, 
chancellor  of  Maryland,  one  of  Washington's  secretaries  and 
aides.  It  is  known  as  the  Vaughn  type,  painted  in  1795, 
tioni  the  n.iiiiL-  (if  the  ow  iicr  ot  the  lirst  |)()rtrait  n\  Washington, 
showing  the  rigiit  side  of  the  face,  that  was  engraved.  Ot 
this  ty|)e  nine  are  known  painted  by  Stuart,  three  ol  wliiih, 
the  one  exhibited  and  two  others,  show  some  variations  from 
the  original. 
On  canvas:    H.  30^0  inches;    W.  25  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
94 


GEORGE    WASHINGTON    (vaighn  type)    BV    GILBERT    STUART 


GEORGE    WASHINGTON    (uNSDowNf:  type)    BY    CJII.BHRT    STUART 


EARLY   AMERICAN    PAINTINGS 


GILBERT  STUART 

CONTINUED 

1  pi^  GEORGE  WASHINGTON.  (Lansdowne  type)  Con- 
■*■  ^'^  cerning  the  history  of  this  portrait  we  quote  the 
following    from   the   recollections   of   Mrs.  H.  B.  Pierrepont: 

"After  our  return  from  England  in  1795,  my  father  went  to 
Philadelphia,  and,  at  the  request  of  his  mother,  engaged  Gilbert 
Stuart  to  take  his  likeness  for  his  family.  Gilbert  Stuart  was, 
at  the  time  of  my  father's  visit  (1796)  painting  a  full  length 
portrait  of  Washington  for  Mr.  Bingham,  who  presented  it  to 
the  Marquis  of  Lansdowne.  My  father  was  so  much  pleased 
with  it  that  he  engaged  Stuart  to  paint  one  for  him  at  the  same 
time,  as  the  General  was  giving  him  sittings.  Stuart,  who 
was  well  acquainted  with  m\'  father,  promised  both  pictures 
should  be  worked  upon  alternatively,  so  that  both  should  be 
originals." 

Th^  portrait  hung  in  the  old  Constable  home,  which  stood 
on  the  present  site  of  the  Astor  House,  until  1803.  In  1812, 
Mr.  H.  B.  Pierrepont  purchased  it  from  his  brother-in- 
law  and  it  has  ever  since  hung  in  the  Pierrepont  Mansion  on 
Pierrepont  Place,  Brooklyn. 

The  above  is  taken  from  the  Foreword,  page  xii. 
On  canvas:    H.  963:4  inches;   W.  603^4  inches. 


Lent  by  Mr.  Robert  Low  Pierrepont. 

95 


EARLY    AMKRICAN    PAINTINGS 


GILBERT  STUART 

CONTINLHD 

1  Al  HON.  JOHN  WATTS,  Sr.  (1715-1789).  John 
-*^ "  '  Watts,  Sr.,  son  of  Counselor  Robert  Watts  and 
Mary,  daughter  of  Wilham  Xicolls,  was  horn  in  New 
York  City.  In  July  1742  he  married  Ann,  daughter  of 
Stephen  De  Lancey  and  sister  of  I.ieiireii,int-(  iovernor  James 
De  l>ancey. 

He  represented  New  \<)rk  City  in  the  Assemhix  for  many 
years,  and  was  a  member  of  the  King's  Council  from  1757- 
1775.  He  was  one  of  tlic  original  founders  and  trustees  of 
the  Society  Library  in  1754,  and  presented  its  first  clock  to 
the  New  York  P^xchange  in  1760.  He  assisted  in  organizing 
the  New  York  City  Hospital.  Because  of  his  British  sympa- 
thies he  was  obliged  to  flee  to  England  in  1775.  at  the  out- 
break of  the  war,  never  returning  to  this  country.  His  large 
estate  was  declared  confiscated,  but  at  the  end  of  the  war  it 
was  |)artly  re[)urchased  and  reconveyed  on  July  i,  17S4,  to 
his  sons,  Robert  and  John.  One  of  his  daughters,  .Ann,  married 
Captain  .Archibald  Kennedy,  of  tlu-  Royal  Navy,  who  became 
eleventh  Karl  of  Cassilis.  Their  son,  the  twelfth  Earl,  was 
born  in  this  country. 

This  portrait  has  been  in  the  possession  of  the  family  until 
recently.  The  sitter  left  it  to  his  eldest  son  Robert  Watts, 
who  bequeathed  it  to  his  son  Ridley  Watts.  The  latter  left 
it  to  his  son  Robert  Watts,  whose  son.  Dr.  Robert  Watts, 
was  the  last  owner. 
On  canvas:    H.  30  inches;   W.  25  inches. 


The  property  of  the  Brooklyn  Museum. 
96 


JOHN    WATTS,    SR.,    BV    GILBERT    STUART 


CAPTAIN    WILLIAM    CHAMBERLAIN    BY    THOMAS    SULLY 


EARLY   AMERICAN    PAINTINGS 


THOMAS  SULLY 

1783-1872 

Thomas  Sully  was  born  at  Horncastle,  Lincolnshire,  England, 
and  died  in  Philadelphia,  Pennsylvania.  At  nine  years  of 
age  he  was  taken  by  his  parents  to  America.  Studied  in 
Charleston,  South  Carolina;  in  1799  joined  his  brother 
Lawrence,  a  miniature  painter,  in  Richmond,  Virginia;  was 
in  New  York  City  1806-8;  spent  a  short  time  in  Boston  study- 
ing with  Gilbert  Stuart;  went  to  Europe,  studying  under 
West  and  painted  a  portrait  of  Queen  Victoria  which  belongs 
to  the  St.  George's  Society  of  Philadelphia.  In  1838  settled 
in  Philadelphia  where  he  painted  portraits  of  La  Fayette, 
Jefferson,  and  others;  many  famous  actors  sat  for  him, 
among  them  George  Frederick  Cooke  and  Fanny  Kemble. 

1  r\c  CAPTAIN  WILLIAM  CHAMBERLAIN.  Captain 
^*^  Chamberlain  was  a  Philadelphian.  The  portrait 
descended  to  William  Chamberlain's  son  Charles  Chamberlain, 
and  through  him  to  his  son  Charles  Chamberlain,  Jr.  Noted 
in  Charles  Henry  Hart's  "Sully's  Register  of  Portraits"  as 
No.  287.  It  was  painted  in  18 10. 
On  canvas:    H.  313/2  inches;   W.  26  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
97 


EARLY   AMERICAN    PAINTINGS 


THOMAS  SULL\' 

CONTINUED 

1  OA  ^^^^'  "^^'^^^^^^^^  CHAMBERLAIN  was  before  her 
-'■"^  marriage  Miss  Cornelia  Mitchell,  a  Virginian.    Noted 
in  Charles  Henry   i  [art's  "Sully's   Register  of  Portraits"  as 
No.  288.     It  was  painted  in  18 10. 
On  canvas:  H.  31'^  1  inches;  W.  26  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
98 


MRS.    WILLIAM    CHAMBERLAIN    BY   THOMAS    SULLY 


ELIZA BFTH    COOK    BY    THOMAS    SULLY 


EARLY   AMERICAN    PAINTINGS 


THOMAS  SULLY 

CONTINUED 

1  pv-y  ELIZABETH  COOK  (Mrs.  Benjamin  Franklin 
-*-^'  Bache).  Shortly  after  the  first  quarter  of  the  nine- 
teenth century,  the  popular  taste  of  the  day  demanded  ideal 
heads,  and  this  picture,  while  painted  as  a  fancy  head,  is  in 
fact  the  portrait  of  F^lizabeth  Cook,  a  friend  of  Sully's  daugh- 
ters. She  later  became  the  wife  of  Dr.  Benjamin  Franklin 
Bache,  a  grandson  of  Benjamin  Franklin,  and  the  portrait 
was  in  the  possession  of  the  family  until  191 1. 
It  was  engraved  by  John  Cheney,  as  the  frontispiece  for 
"The  Gift"  for  1842,  under  the  name  of  "The  Country  Girl," 
and  in  Griswold's  "Poets  and  Poetry  of  America,"  1843, 
p.  301,  under  the  title  "Maidenhood."  See  "Catalogue  of 
the  Engraved  and  Lithographed  Work  of  John  Cheney  and 
Seth  Wells  Cheney"  by  S.  R.  Koehler,  Boston,  1891,  pages 
59  and  60. 

On  canvas:    H.  30  inches;   W.  24^4  inches. 
Signed :    7'S  iSj^g. 


Lent  by  Mr.  John  Hill  Morgan. 
99 


EARLY    AMERICAN    PAINTINGS 


THOMAS  SULLY 

CONTINUED 

10^  JOSKPII  A.  DOIT.AN  (sometimes  spelled  Dugan). 
Iv/U  i^j^  ^^^,j,  .^  nicrcliant  of  Phihuleli)hia  and  president 
I'ennsylvania  Academy  of  the  Fine  Arts,  1842  1845.  Noted  in 
Charles  Henry  Hart's  "Sully's  Register  of  Portraits,"  No.  453. 
It  was  jKiinted  in  1810. 
On  canvas:    11.  36  inches;    \V.  29  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
100 


JOSEPH    A.    DOUGAN    BY    THOMAS    SULLY 


THEODORE    GOURDIN    BY    THOMAS    SULLY 


EARLY   AMERICAN    PAINTINGS 


THOMAS  SULLY 

CONTINUED 

1  OQ  'THEODORE  GOURDIN.  He  was  a  planter  of  Pine- 
^  ville,  Parish  of  St.  Stevens,  South  Carohna,  and  a 
member  of  Congress  from  the  \\  ilHamsburgh  District  from 
1813  to  1815.  He  died  in  1826.  Noted  in  Charles  Henry 
Hart's  "Sully's  Register  of  Portraits,"  No.  637.  It  was 
painted  in  18 15.  St.  Memin's  crayon  portrait  of  Theodore 
Gourdin  is  No.  79  of  this  exhibition. 
On  canvas:   H.  29  inches;   W.  2434  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 

lOI 


KAR1.Y    AMERICAN    PAINTINGS 


THOMAS  SULLY 

CONTINUED 

1  1  n  J^^^^'^  H()(Ki  (1770-1813).  This  portrait  is  entered 
-*^  ^  ^  in  Sully's  Register  (No.  769),  under  the  year  1S07, 
"Mr.  Hogg,  formerly  of  the  theatre."  John  Hogg  made  his 
debut  in  a  musical  play  and  was  a  dead  failure.     Subsequently 

he  made  his  mark  in  the  line  ot  hdnest,  l)lutl.  bUiiit  old  countr\- 

men,  and  in  other  comic  parts,  hut  he  left  the  stage  and  opened 

a  puhlii    house  where  he  was  commonly  known  as  "Honest 

Old  Hogg."     He  died   in   New    '^'ork.   February   14,    1813,  at 

the  age  of  forty-three. 

On  canvas:    H.  26V 2  inches;   W.  22  inches. 

From  the  collection  of  Mrs.  Benjamin  Thaw. 


Lent  by  Mr.  Jonathan  Bulkley, 
102 


JOHN    HOGG    BY    THOMAS    SULLY 


WILLIAM    HENRY    KORN    BY    THOMAS    SULLY 


EARLY   AMERICAN    PAINTINGS 


THOMAS  SULLY 

CONTINUED 

1  -I  -I  LIEUTENANT  WILLIAM  HENRY  KORN  (1814- 
^  ^  ^  1842).  William  Henry  Korn,  son  of  Henry  Korn,  of 
Philadelphia,  was  a  cadet  at  the  United  States  Military 
Academy,  West   Point,  from  September  i,   1835,  to  July   i, 

1839,  when  he  was  graduated  and  appointed  second  lieutenant 
First  Infantry.     He  joined  his  regiment  in  Florida,  in  January, 

1840,  during  the  Seminole  War.  Ill  health  forced  his  resigna- 
tion and  he  died  shortly  after  leaving  the  army. 

Henry  Korn  was  a  personal  friend  of  the  artist. 
This  portrait  is  still  in  the  possession  of  the  family. 
On  canvas:   H.  30  inches;   W.  25  inches. 


Lent  by  Mr.  William  Henry  Fox. 
103 


EARLY    AMIR  I  CAN     PAINTINGS 


THOMAS  Sri.LY 

CONTINUED 

1  1  ^  HANNAH     SEACJRAVKS     REEVES     (Mrs.    Wm. 
^  ^  "^    I'incknev  Craij^.  of   Philadelphia).     Her  second    hus- 
band was  Judge  Randolph,  ot   Tallahassee.  Florida. 
Painted  ca.  1825-30  at  Philadelphia.     This  portrait  is  still   in 
the  possession  of  a  descendant. 
On  canvas:    H.  16  inches;    \V.  28  inches. 


Lent  by  Mrs.  Allen  McLane  Hamilton. 
104 


HANNAH    SEAGRAVES    REEVES    BY    THOMAS    SULLY 


THE    SPANISH    MANTILLA    BY    THOMAS    SULLY 


EARLY   AMERICAN    PAINTINGS 


THOMAS  SULLY 

CONTINUED 

THE  SPANISH   MANTILLA.    An  "Ideal   Head" 

one  of  those  referred  to  in  the  Foreword. 
This  picture  was  painted  by  Sully  on  order  and  purchased  by 
Dr.  Charles  D.  Meigs  of  Philadelphia  from  the  original  owner. 
On  canvas:  H.  363^  inches;  W.  28  inches. 
Signed:    TS  1840. 


113 


Lent  by  Miss  Sarah  Throckmorton  Meigs. 
105 


EARLY    AMERICAN    PAINTINGS 


THOMAS    Sll.l.^' 
CONTINUED 

1 1  :?.  JANE  COOPER  SULLY  (1807-1877).  She  was  the 
-»--^*^*l  ilau^hter  of  the  artist  and  is  known  to  have  also 
l)ainted  portraits.  She  married  in  1833  William  Henry  Westray 
Darley,  the  hrother  of  Felix  ().  C.  Darley,  the  well  known 
illustrator,  and  her  son  is  I'rancis  Thomas  Sully  Darky,  the 
organist. 

On  canvas:  H.  ^s'^-i  inches;  W.  2g  inches. 
Signed:   TS  183S. 


Lent  by  Mr.  Luke  Vincent  Lockwood. 

106 


JANE    COOPER    SULLY    BY    THOMAS    SULLY 


PRESIDENT   JOHN    TYLER    BY    THOMAS    WILCOCKS    SULLY,    JR. 


EARLY   AMERICAN    PAINTINGS 


THOMAS  WILCOCKS  SULLY,  JR. 

1811-1847 

"  (The  son  of  the  celebrated  artist)  now  exhibits  for  the  first 
time  with  the  artists  of  Philadelphia,  and  is  painting  at 
Norfolk  (1834)."  The  preceding  is  a  note  in  Dunlap.  He 
was  born  in  Philadelphia.  He  was  an  excellent  artist  and 
painted  a  number  of  portraits,  some  of  which  were  lithographed 
by  Newsam. 

1  1  4_  JOHN  TYLER  (i 790-1862).  Born  in  Virginia,  the 
^  ^*  son  of  John  Tyler  (1747-1813)  once  governor  of  that 
state.  Graduated  from  the  College  of  William  and  Mary, 
Williamsburg,  1807.  Admitted  to  the  bar,  1809.  Member 
of  the  House  of  Representatives,  1816-1831;  United  States 
senator,  1827,  succeeding  John  Randolph.  Elected  vice-presi- 
dent of  the  United  States  in  1841.  He  became  president  upon 
the  death  of  William  Henry  Harrison  (whose  portraits  are 
Nos.  3a,  50,  59  and  66  of  this  exhibition). 
In  the  introduction  to  "Sully's  Register  of  Portraits,"  by 
Charles  Henry  Hart,  page  13,  the  following  reference  is  made 
to  this  portrait:  "A  portrait  that  he"  (Thomas  Sully,  Jr.) 
"painted  of  John  Tyler,  with  the  W^hite  House  in  the  back- 
ground, is  an  excellent,  virile  piece  of  work." 
On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
107 


EARLY    AMERICAN    PAINTINGS 


JOHN  TRUMBULL 

i7;6- 1S43 

Born  in  Connecticut;  died  in  New  York  City.  He  was  the 
son  of  JoniitlKin  Trumbull,  first  (M)vernor  of  Connecticut; 
aide-de-camp  to  Washington  in  1775  during  the  War  of 
Independence  and  retired  from  service  in  1777  with  the  rank 
of  colonel.  In  1780  he  was  in  London  studying  with  Ben- 
jamin West;  in  1786  his  first  historical  picture,  the  "  Battle  of 
Bunker's  Hill  "  was  painted.  l-Durot  his  historical  j)ictures  dec- 
orate the  rotunda  of  the  Capitol  at  Washington.  Fifty-four  of 
his  paintings  arc  in  the  ^'ale  School  of  Fine  .Arts,  New  Haven, 
Connecticut. 

-1  I  r  WHJJ.AM  BROWN  (1779-1809  ( :).     W  illiam  Brown 
-*■■*- *^  was  a  merchant  of  Norwich,  Connecticut. 
On  canvas:    FL  363^4  inches;   W.  28  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
108 


WILLIAM    BRdWN    BY    JOHN    TRUMBULL 


GOVERNOR    GEORGE    CLINTON    BY    JOHN    TRL'MBULL 


EARLY   AMERICAN    PAINTINGS 


JOHN  TRUMBULL 

CONTINUED 

11/^  GOVERNOR  GEORGE  CLINTON  (1739-1812). 
-*-  -^  ^  Born  at  Little  Britain,  New  York,  the  son  of  Charles 
Clinton  (1690-1773).  In  1775  he  was  a  member  of  the 
second  Continental  Congress,  and  in  December  of  the  same 
year  was  appointed  brigadier-general  of  militia;  later  he  held 
the  same  rank  in  the  Continental  Army.  Governor  of  New 
York  from  1777  to  1795  and  from  1801  to  1804.  Fourth 
vice-president  of  the  United  States,  1805.  Ames'  portrait  of 
Governor  Clinton  is  No.  i  of  this  exhibition. 
On  canvas:  H.  108  inches;  W.  72  inches. 
Signed:   /.  Trumbull,  i/Qi. 


The  property  of  the  City  of  New  York. 
109 


EARLY    AMHRltAN    rAINTlNGS 


JOHN  TRUMBULL 

CONTINIED 

1  1 -7  ALKXANDER  HAMILTON  (1757-1804).  Born 
on  the  Ishuid  of  Nevis,  West  Indies,  and  died  in 
New  ^'ork.  A  celebrated  American  statesman  and  author; 
settled  in  New  York  in  1772;  attracted  attention  as  a  pam- 
phleteer in  the  political  atiit.ition  preceding  the  Revolution; 
entered  the  Continental  service  as  an  .irtillery  captain; 
becanu-  member  of  Washington's  staff.  Some  honorable  posi- 
tions luld  by  him  were:  member  of  Continental  Congress; 
Constitutional  Convention;  secretary  of  the  Treasury; 
commander-in-chief  of  the  Army  (1799).  He  was  mortally 
wounded  by  Aaron  Burr  in  a  duel  at  Weehawken,  New  Jersey, 
July  II,  1804. 
On  canvas:  H.  36  inches;  W.  283|  inches. 


Lent  by  Mr.  Frederick  W.  Hinrichs. 
no 


ALEXANDER    HAMILTON    BY    JOHN    TRUMBLLL 


RALPH    KIRKLEY    BY    JOHN    TRUMBULL 


EARLY    AMERICAN    PAINTINGS 


JOHN  TRUMBULL 

CONTINUED 


1  t  o  RALPH  KIRKLEY.  Ralph  Kirkley  was  the  body 
J.  1  (J  servant  of  Sir  Joshua  Reynolds.  This  picture  was 
painted  while  Trunihiil!  was  studying  under  Benjamin  West 
in  London. 

David  Trumbull  Lanman,  a  great-nephew,  either  purchased 
this  picture  in  the  artist's  lifetime  or  obtained  it  from  his  sister 
Miss  Abbie  Trumbull  Lanman,  who  received  practically  all 
of  Colonel  Trumbull's  personal  effects  at  the  time  of  his  death. 
On  canvas:    H.  30  inches;    W.  25  inches. 


Lent  by   Mr.  David  H.  Lanman. 
Ill 


KARIY    AMERICAN     I'AINTINCS 


JOHN  TRLMIU  l.I. 

CONTIM  i;i) 

11  Q  I'K'I'KR  I.ANMAX.  IVtcr  Lanman  was  a  brotlier- 
^  -^  in-law  ot  the  artist,  and  a  resident  of  Norwich,  Con- 
necticut, iliis  portrait  is  still  in  the  possession  of  a 
descendant. 

Panel:    II.  i^)  iiulies;    W.  24  inches. 


I.tnt  by  Mr.s.  \\'illi;im  L;mm;in  Bull. 
I  \l 


PETER    LANMAN    BY    JOHN    TRUMBULL 


MRS.    PETER    LANMAN    BY    JOHN    TRUMBULL 


EARLY    AMERICAN    PAINTINGS 


JOHN  TRUMBULL 

CONTINUED 

1  -ppi  MRS.  PETER  LANMAN.  Mrs.  Peter  Lanman  was 
^^  Abigail  Trumbull,  daughter  of  Jonathan  Trumbull, 
governor  of  Connecticut  during  the  Revolutionary  War. 
She  was  a  sister  of  the  artist,  and  resided  at  Norwich,  Con- 
necticut. This  portrait  is  still  in  the  possession  of  a 
descendant. 
Panel:    H.  30  inches;   W.  24  inches. 


Lent  by  Mrs. William  Lanman  Bull. 
11-; 


EARLY    AMERICAN    PAINTINGS 


JOHN  TRUMBLI,!. 

CONTINLKD 

i-^-|  SORTIK  FROM  (JIBRAI/IAR.  ConcerniriR  this 
^  — '  ^  painting,  Charles  Henry  Hart  writes:  "Trumbull 
painted  five  different  canvases  of  this  picture,  each  one  with 
some  slight  variation  from  the  other.  The  one  exhibited  has 
a  particular  interest  in  being  the  one  made  tor  William  Sharp 
the  engraver  to  make  his  large  plate  troin  and  is  accompanied 
with  Triinihuirs  autograph  key  to  the  characters  that  was 
engraved  to  accompany  the  print.  Trumbull  in  his  Auto- 
biograph  says  of  a  small  canvas  20  x  30  inches:  "intended  for 
the  engraver."  While  that  may  have  been  the  intention  and 
it  corresponds  with  the  size  of  the  plate,  a  comparison  of  the 
picture  with  the  |)late  shows  that  the  two  differ.  Ihis  picture, 
like  Copley's  "Death  of  Chatham,"  contains  so  many  figures 
and  is  so  well  known  from  Sharp's  engraving  and  from  the 
large  painting  in  the  Museum  of  Fine  Arts,  Boston,  that  to 
describe  it  seems  wholly  iiiiiiecessary." 
On  canvas:    H.  35^2  inches;   W.  :;4  inches. 


Lent  by  Mr.  Herbert  Lee  Pratt. 
114 


COLONEL    MOSES    THOMAS    BY    JOHN    VANDERLYN 


EARLY   AMERICAN    PAINTINGS 


JOHN  VANDERLYN 

1755-1852 

Born  and  died  in  Kingston,  New  York.  He  was  a  pupil  of 
Stuart  in  New  York  City  and  later  went  to  Paris  where  he 
studied  from  1796  until  1801.  He  painted  in  Europe  from  1803 
to  1815.  In  1808  his  painting  "Marius  among  the  Ruins  of 
Carthage"  was  awarded  a  medal  in  Paris,  and  his  "Landing 
of  Columbus"  is  in  the  Rotunda  of  the  Capitol  in  Washington. 

-1  /^/^  COLONEL  MOSES  THOMAS.     Moses  Thomas  was 
-*■  ^^  the  editor  of  the  Analectic  Magazine.     This  portrait 
was  painted  in  April,  18 19. 
On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  by  Mr.  John  Frederick  Lewis. 
"5 


EARLY    AMERICAN    PAINTINGS 


JOHN  VANDERLVN 

CONTIM  ED 

1  -^:>  SAMPSON  V.  S.  WILDKR.  Mr.  Wilder  was  born 
^ -^'^  in  17S0  and  was  a  merchant  and  banker  in  Boston 
antl  in  l^aris.  He  entertained  La  Fayette  at  his  country  house 
at  Bf)lton,  Massachusetts,  in  1824.  This  portrait  was  painted 
in  1S05  in  Mr.  \\  ilder's  counting  house,  and  won  a  medal 
at  the  Paris  Salon  of  1805;  it  is  still  in  the  jiossession  ot  a 
descendant. 
On  canvas:    H.  36^  ?  inches;   W.  29  inches. 


Lent  by  Mr.  Wilder  H.  Haines. 
116 


SAMPSON    V.    S.    WILDER    BY    JOHN    VANDERLYN 


MRS.    SAMPSON    V.    S.    \\II.D1.R    BY    SAML  KL    L.    WALDO 


EARLY    AMERICAN    PAINTINGS 


SAMUEL  L.  WALDO 

17S3-1861 

Born  in  Windham,  Connecticut.  Studied  painting  in  Hart- 
ford. Material  success  at  the  beginning  of  his  career  per- 
mitted him  in  1806  to  go  to  London  and  for  three  years  he 
painted  portraits  in  that  city.  He  returned  to  the  United 
States  in  1809  and  remained  in  New  York  until  his  death. 
He  worked  for  a  while  in  partnership  with  William  Jewett. 

1  ^t    MRS.  SAMPSON  V.  S.  WILDER.     Painted  about 

-*-—''    1S40;    wife  of  S.  V.  S.  Wilder,  the  subject  of  Van- 

derlyn's  painting  in  this  catalogue;    grand-daughter   ot  Anna 

Pierce  Barrell,  whose  portraits  bj'  Copley  are  Nos.  11  and  12 

of  this  exhibition.     This  portrait  is  still  in  the  possession  of  a 

descendant. 

On  canvas:    H.  36  inches;    W.  28  inches. 


Lent  by  Miss  R.  V.  Halsev 
117 


EARLY    AMERICAN    PAINTINGS 


SAMUEL  L.  WALDO 

CONTINUED 

1  ^C-  WILLLAM  STEELE  (1762-1851).  Born  in  New 
xL^^  York.  Served  in  the  American  RcNolution.  In  the 
spring  of  1780  while  bearing  dispatches  on  the  twenty  gun 
ship  "Aurora,"  which  was  captured  by  the  l^ritish  frigate 
"Iris,"  he  was  severely  wounded  during  the  battle.  Was 
held  as  a  prisoner  between  four  and  five  months,  when  he 
was  exchanged.  Married  Mary,  daughter  of  Dr.  Jonathan 
Dayton,  December  26,  1791.  1  lis  father,  Stephen  Steele,  was 
a  very  active  Whig  in  the  Revolutionary  War,  and  was 
obliged  to  abandon  his  home  and  a  valuable  property  in  New 
York  when  the  city  was  taken  possession  of  by  the  British 
forces.  This  portrait  is  still  in  the  possession  of  a  descendant. 
Panel:    H.  30  inches;   W.  2432  inches. 


Lent  by  Mr.  William  D.  Steele. 
118 


WILLIAM    STEELE    BY    SAMUEL    L.    WALDO 


MRS.    WILLIAM    STEELE    BY    SAMUEL    L.    WALDO 


EARLY    AMERICAN    PAINTINGS 


SAMUEL  L.  WALDO 

CONTINUED 

t  /p  X  MRS.  WILLLAM  STEELE.  Mary,  daughter  of  Dr. 
^ '-'^^  Jonathan  Dayton,  married  William  Steele  on  Decem- 
ber 26.  1791.  She  died  March  26,  1834.  This  portrait  and 
No.  125  were  painted  shortly  before  her  death,  and  they  are 
still  in  the  possession  ot  a  descendant. 
Panel:    H.  30  inches;    W.  24^2  inches. 


Lent  by  Mr.  William  D.  Steele. 
119 


EARLY    AMERICAN    PAINTINGS 


SAMUEL  L.  WALDO 

CONTINUED 

1  97  JOSEPH  MOSS  WHITE  (1741-1822).  Painted 
■*■ " '  about  1816.  Joseph  Moss  White  graduated  from 
Yale  in  1760.  Farmer,  town  surveyor,  state  tax  collector, 
delegate  to  Connecticut  Convention  to  ratify  United  States 
Constitution  in  1788,  and  member  of  Legislature,  1788-1794. 
This  portrait  is  still  in  the  possession  of  a  descendant. 
On  canvas:    H.  30  inches;   W.  25  inches. 


Lent  by  Mr.  Alfred  T.  White. 
120 


JOSEPH    MOSS    WHITE    BY    SAMUEL    L.    WALDO 


AN    UNKNOWN    GENTLEMAN    BY    SAMUEL    L.    WALDO 


EARLY    AMERICAN    PAINTINGS 


SAMUEL  L.  WALDO 

CONTINLED 


128  PORTRAIT  OF  AN  UNKNOWN  GENTLEMAN. 

On  canvas:    H.  3034  inches;    W.  25  inches. 

From  the  collection  of  Mrs.  Benjamin  Thaw,    igi6. 


The  property  of  the  Brooklyn  Museum. 
121 


EARLY    AMERICAN    PAINTINGS 


ADOLF  ULRIC  WERTMULLER 

1749-1812 

Adolf  Ulric  Wertmiiller  was  born  in  Stockholm,  Sweden.  He 
was  appointed  i^ainter  to  the  king  in  17.S7  and  came  to  America 
in  1794,  settling  in  I'hiladclphia.  He  ])ainted  a  portrait  of 
Washington  I  Kirn  life,  and,  after  executing  many  imi)ortant 
commissions  here,  returned  to  Sweden  in  1796.  After  some 
unsuccessful  business  ventures  he  again  emigrated  to  Phila- 
delphia, where  he  arrived  in  iSoo.  He  married  a  Swedish  lady 
here  and  settled  at  Marcus  Hook,  Pennsylvania,  where  he 
died. 

-|<^Q  ANDREW  HAMILTON,  IVni.  The  Hamilton 
-*  "^^  homestead,  "Woodlands,"  was  in  the  old  Blockley 
Township  of  the  County  of  l*l)ila(leli)hia.  The  house  was 
filled  with  portraits  ol  the  Hamilton  family,  j)ainted  by  British 
and  Aincric  an  artists.  Its  first  owner,  Andrew  Hamilton,  was 
a  pniniiiieiit  lawyer  and  member  of  the  state  Assembly. 
On  canvas:  11.  27  inches;  W.  21  inches. 
Signed:  A.  Jl'crtmullt'r,  Philadelphia,  ISIO. 


Lent  by  Mr.  John  Frederick  Lewis. 
1 22 


ANDREW    HAMILTON,    IVTH.    BY    ADOLF    ULRIC    WERTMULLER 


MRS.    ANDREW    HAMILTON    BY    ADOLF    II.RKH    W  KRTML  LLER 


EARLY    AMERICAN    PAINTINGS 


ADOLPH  LLRIC  VVERTMULLER 

CONTINUED 

-1  ^/A  MRS.  HAMILTON.     Eliza  Johnson,  wife  of  Andrew 
^^^  Hamilton  IVth,  of -Woodlands." 
On  canvas:    H.  27  inches;    W.  21  inches. 
Signed:  J.  Jfertynuller,  Philadelphia,  1810. 


Lent  b\"  Mr.  John  Frederick  Lewis. 
123 


KARI.Y    AMERICAN    PAINTINGS 


ADOLF  ULRIC  WERTMOLLER 

CONTINUED 


131    I'ORTRAir  OF  THE  ARTIST. 
On  canvas:    H.  25  inches;   W.  21  inches. 


Lent  by  Mr.  John  Frederick  Lewis. 
124 


ADOLF    ULRIC    WERTMULLER    BY    HIMSELF 


DR.    ENOCH     i;i)VVARDS    BV    liKNJAMIN    WEST 


EARLY   AMERICAN    PAINTINGS 


BENJAMIN  WEST 
1738-1820 

Portrait  and  history  painter.  Born  in  Springfield  Township, 
Delaware  County,  Pennsylvania;  died  in  London,  England. 
After  some  instruction  from  a  painter  named  Williams,  he 
went  to  Philadelphia  as  a  portrait  painter,  thence  to  New 
"i'ork  City;  in  1760  to  Italy;  and  in  1763  settled  in  London. 
In  1772  made  historical  painter  to  George  III;  West  suc- 
ceeded Sir  Joshua  Reynolds  as  president  of  the  Royal  Acad- 
emy. In  his  studio  many  of  the  American  artists  of  the  day 
received  their  training. 

1  :?0  DR.  ENOCH  EDWARDS  (1751-1802).  Dr. 
^  -^-^  Edwards  was  a  son  of  Alexander  Edwards  and  was 
born  in  Lower  Dublin  Township,  Pa.  He  married  in  Christ 
Church,  Philadelphia,  1779,  Frances  Gordon.  He  was  a 
member  of  the  Provincial  Conference  held  in  Carpenter's 
Hall,  June  18,  1776.  He  served  as  a  surgeon  during  the 
Revolutionary  War,  and  was  attending  physician  to  General 
Washington.  He  was  a  delegate  to  the  Pennsylvania  Con- 
vention on  the  adopting  of  the  Constitution.  Governor 
Mifflin  appointed  him  in  1791  one  of  the  associated  or  lay 
justices  of  the  Court  of  Common  Pleas,  which  office  he  held 
until  his  death  in  1802.  He  was  a  warm  friend  of  Benjamin 
West,  who  painted  this  portrait  upon  his  second  visit  to 
England  in  1795.  See  Letters,  "  Pennsylvania  Magazine  of 
History  and  Biography,"  January  1908,  pages  23-25,  and 
"Register  of  Jefferson's  Correspondence"  in  the  Library  of 
Congress. 

On  canvas:  H.  36  inches;  W.  27^  inches. 
Signed :    B.  West,  1795. 

Lent  by  Mr.  Herbert  Lee  Pratt 
125 


EARLY    AMERICAN    PAINTINGS 


BENJAMIN  WEST 

CONTINUED 

I  ^^  AMERICAN  PEACE  COMMISSIONERS  (Treaty 
lOO  ,,t  1782).  F'xtract  from  "Memoirs  of  John  Quincy 
Adams,"  Vol.  Ill,  paj^e  55<;.  edited  by  Charles  Erancis 
Adams.  (Lippimotr  I'iiiladelphia — 1874).  "1817 — June 
6th.  Mr.  West — spent  the  evening  with  us.  He  told  me 
that  he  had  in  the  ye;ir  17S3  made  a  sketch  for  a  picture  of 
the  jieace  which  terminated  the  war  of  the  American  Revolu- 
tion, whiih  he  would  send  iiu'  t<>  look  at  the  next  morning, 
as  he  accordingly  did.  1  then  recollected  having  seen  it 
before,  at  the  time  when  my  father  was  sitting  to  him  for  his 
likeness  in  it.  The  most  striking  likeness  in  the  picture  is 
that  of  Mr.  Jay.  Those  of  Dr.  Eranklin,  and  his  grandson, 
\\  .  v.,  who  was  Secretary  to  the  American  Commission,  are 
also  excellent.  Mr.  Laurens  and  m\-  father,  though  less  ])er- 
fect  resemblances,  are  yet  very  good. 

Mr.  Oswald,  the  British  Plenijxjtentiary,  was  an  ugl}  looking 
man,  blind  of  one  eye,  and  he  died  without  leaving  any  picture 
of  him  e.xtant.  This  Mr.  West  alleged  as  the  cause  which 
prevented  him  from  finishing  the  picture  many  years  ago. 
Caleb  Whitefoord,  the  Secretary  of  the  British  Commission, 
is  also  dead,  but  his  portrait  exists,  from  which  a  likeness 
may  be  taken.  .As  I  very  strongly  expressed  regret  that  this 
picture  should  be  left  unfinished,  Mr.  West  said  he  thought  he 
could  finish  it,  and  I  must  not  be  surprised  if  some  day  or 
other  it  should  be  received  at  Washington."  (Eor  additional 
information  see  Eoreword,  page  xvii.) 
On  canvas:  H.  28^2  inches;  W.  36)^  inches. 
Collection  of  Lord  Belper. 

Lent  by  Mr.  John  Pierpont  Morgan. 
126 


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Z     i 


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PRESIDENT   JOHN    ADAMS    BY    WILLIAM    WINSTANLEY 


EARLY    AMERICAN    PAINTINGS 


WILLIAM  WINSTANLEY 

Little  is  known  of  this  artist  whom  Dunhip  represents  as  an 
Enghshman  of  good  family  who  came  to  America  during  the 
last  decade  of  the  eighteenth  century.  He  is  said  to  have 
made  good  copies  of  Stuart's  portraits. 

1  o  j_  JOHN  ADAMS  (1735-1826).  Born  in  Quincy,  Mas- 
'*-*^^  sachusetts;  graduated  from  Harvard,  1755;  admitted 
to  the  bar,  1758;  member  of  the  Continental  Congress 
1774-1778;  minister  to  the  Court  of  St.  James's,  1785;  first 
vice-president  of  the  United  States,  1789- 1797;  second 
president  of  the  United  States,  1797-1801.  Painted  from 
life  in  1798. 

(See  his  portrait  by  S.  F.  B.  Morse,  No.  51,  of  this  exhibition.) 
On  canvas:    H.  27  inches;    W.  22j^  inches. 


Lent  by  Mr.  Alexander  Smith  Cochran. 
127 


EAJILY    AMERICAN    rAlNTlNGS 


JOHN  \V(X)I, ASTON 
The  only  matter  available  coiuernin^  the  lite  of  this  artist 
seems  to  be  the  following,  taken  from  Diinhip's:  "A  gentleman 
of  this  name  painted  portraits  in  Phihulclpiiia  in  lys^,  and 
in  Maryland  as  early  as  1759-1760.  1  know  nothing  niDre  ol 
him,  but  that  Francis  Hopkinson  published  verses  in  his 
praise  in  the  Amrrican  Magazine  lor  September,  175S."  Me 
is  known  to  have  |)aintecl  "the  onl\-  jtorriait  extant  ol  Martha 
Washington  in  her  early  matronhood"  and  also  ol  the  grand- 
mother of  John  Randolph  of  Roanoke.  (See  "Heirlooms  in 
Miniatures  h\-  Anne  1  lollingsworrh  \\'harton,"  Pliila(k'l|)hia, 
1898.) 

^-y^  LN KNOWN    (lENTLEMAN    THOUCH 1     To    iii: 
^^^  LAWRENCE    WASHINGTON.       llall-hiotlier    ..f 
George  Washington  and  son  of  Augustiiu-  Washington  by  his 
first  marriage  with  Jane  Butler. 
On  canvas:    11.  40  inches;    W.  29  inches. 


Lent  by  Mr.  John  Frederick  Lewis. 
128 


LAWRENCE    WASHINGTON    (?)    BY    JOHN    WOOLASTON 


MAJOR    JOHN    UIKS    BY    AN    UNKNOWN    ARTIST 


EARLY   AMERICAN    PAINTINGS 


UNKNOWN  ARTIST 
1  ^  X   MAJOR  JOHN  DIES.     Married  in  Reformed  Dutch 
±*JkJ  Ciiyrch.  New  "\'()rk,  July  28,  1743. 
On  canvas:    H.  45^2  inches;    W.  36V2  inches. 


Lent  by  Mr.  De  Witt  A.  Clarke. 
129 


EARLY    AMKRICAN    PAINTINGS 


UNKNOWN  ARTIST 

tONI'INri-.D 

1  ^-j  MRS.  JOHN  DIES.  Mrs.  Dies  was  Jane,  daughter 
-'■*-''  of  Jacob  Goelet.  Of  liini  we  read  that  he  was  an 
official  interj)reter  of  the  Dutcli  language.  "He  left  an  only 
daughter,  Jane,  who  married  John  Dies,  of  Catskill,  where 
they  built  an  elegant  residence,  which  stood  till  recent  years. 
She  has  nian\'  descendants  among  the  Dubois  and  \'an  Loon 
families.  She  died  March  5,  i7<;(>,  aged  seventy-six  years. 
Her  sons  were  the  founders  of  (Jilboa,  in  Schoharie  County, 
New  ^'ork. 
On  canvas:    H.  45  inches;    \V.  36  inches. 


Lent  by  Mr.  De  Witt  A.  Clarke. 
130 


MRS.    JOHN    DIES    BY    AN    UNKNOWN    ARTIST 


JOHANNES    PANET    BY    AN    UNKNOWN    ARTIST 


EARLY    AMERICAN    PAINTINGS 


UNKNOWN  ARTIST 

CONTINUED 

1  ^  Q  JOHANNES  PANET.  This  gentleman  was  married 
J.»J(J  jj^  j-,^(^  j-y  Anna  Maria  Marshall,  the  subject  of  the 
following  portrait.  The  waist-coat  worn  by  Mr.  Panet  still 
exists,  and  is  now  at  Woodbury,  Connecticut.  This  portrait 
is  still  in  the  possession  of  a  descendant. 
On  canvas:   H.  30  inches;   W.  25  inches. 


Lent  by  the  Misses  Marshall. 
131 


EARLY    AMERICAN    PAINTINGS 


UNKNOWN  ARTIST 

CONTINUED 

1  ^O  ANNA  MARIA  PANP:T.  Daughter  of  John  Mar- 
1  «J  y  ^i-|.,|i  she  was  born  in  1731  and  married  Johannes 
Panet  in  lyyg.  She  died  without  issue.  Her  brother,  John 
Rutgers  Marshall  was  an  Episcopal  clergyman  of  Woodbury, 
Connecticut,  where  this  portrait  and  the  i)receding  remained 
for  more  than  120  years.  This  portrait  is  still  in  the  posses- 
sion of  a  descendant. 
On  canvas:    H.  30  inches;    W.  25  inches. 


Lent  by  the  Misses  Marshall. 

132 


ANNA    MARIA    PANET    BY    AN    UNKNOWN    ARTIST 


FRANCES    PEYTON    TABB    BY    AN    UNKNOWN    ARTIST 


EARLY   AMERICAN    PAINTINGS 


UNKNOWN  ARTIST 

CONTINUED 

1  _j  pv  FRANCES  PEYTON  TABB  (1753-1828).  Frances 
-*■  '^  Peyton,  the  daughter  of  Sir  John  Peyton,  married 
John  Tabb,  of  AmeHa  County,  Virginia,  in  1770.  She  was 
the  mother  of  Martha  Tabb,  who  married  WilHam  B.  Giles, 
member  of  the  first  Congress  of  the  United  States,  and  later 
United  States  senator  and  governor  of  Virginia.  She  was 
the  aunt  of  Charlotte  and  Emory  Tabb,  whose  portraits  are 
Nos.  85  and  86  of  this  exhibition. 

Another  portrait  of  the  same  lady,  owned  by  descendants  in 
Maryland,  has  upon  the  back,  the  following  legend: 

"  Frances  Tabb 

Age,  23 

J.  Durand,  painter, 

1775" 

Practically  the  only  record  of  Durand  is  to  be  found  in  Dunlap, 

"Arts  of  Design,"  Vol.  I,  page  144,  where  he  says  that  Robert 

Sully  stated:    "He  (Durand)  painted  an  immense  number  of 

portraits  in  Virginia;    his  works  are  hard  and  dry,  but  appear 

to  have  been  strong  likenesses." 

The  Durand  portrait  is  entirely  different  from  the  one  shown 
here  which  may  be  by  Durand  or  from  the  brush  of  another 
artist. 

The   picture   shown   is  owned   by  Mrs.   Tabb's   great-great- 
granddaughter. 
On  canvas:     H.  34!^  inches;  W.  27  inches. 

Lent  by  Mrs.  John  Hill  Morgan. 
133 


LIST  OF  CONTRIBUTORS 


EARLY  AMERICAN 
PAINTINGS 


LIST  OF  CONTRIBUTORS 

NAME  SUBJECT  ARTIST 

Barti.ett,  Mrs.  Franklin 

Mrs.  James  King Ames    . 


Bayley,  Frank  W. 

Moss  Kent Morse 52 

BuLKLEY,  Jonathan 

John  Hogg Sully 102 


Bull,  Mrs.  William  Lanman 

Peter  Lanman Trumbull 112 

Mrs.  Peter  Lanman Trumbull 115 

Chapman,  Miss  A.  G. 

Adam  Babcock Copley 8 

Mrs.  Adam  Babcock Copley 


Clarke,  De  Witt  A. 

Major  John  Dies Unknown  Artist   ....      129 

Mrs.  John  Dies Unknown  Artist  ....      130 

Clarke,  Thomas  B. 

Alexander  Garden Smibert 81 


Clements,  Mr.  and  Mrs.  G.  H. 

Epes  Sargent         Copley       ....  .18 

Cochran,  Alexander  Smith 

William  Heathcote  De  Lancy Eichholtz         .      .  .26 

President  James  Madison  ...      Inman 41 


LIST    UK    CUNTRIIU  TORS 

Cochran,  Alexander  Smith  (Continued ) 

NAME  SlBJtCT  ARTIST  PAGE 

Presidint  William  Htnry  Harrison,      ....     Otis 59 

James  Hamilton I'talt,  J 65 

General  Horatio  Gates Pine 73 

General  Henry  Knox Savage 79 

President  John  Adams Winstanley 1^7 

Connecticut  Historical  Society 

Stephen  Mix  Mitchell Morse 54 

Mrs.  Stephen  Mix  Mitchell Morse 55 

Cooper,  Samuel  W. 

Mary  Justice  Cooper Eichholtz 25 

Crittenden,  Walter  H. 

Mrs.  John  Bacon Copley 10 

Dr.  Klihii  H.  Smith Sharpies 80 

Dr.  Reuben  Smith Sharpies 80 

Ehrich  Galleries 

George  Washington Stuart 93 

Fox,  William  Henry 

Lieutenant  W.  H.  Korn Sully 103 

Gassaway,  Mrs.  H.  (through  Mr.  C.  H.  Hart,  attorney) 

The  Last  Supper Hesselius 34 

Goodwin,  M.  L. 

Captain  John  I.arrahee Badger 3 

Haines,  Wilder  H. 

Sampson  V.  S.  Wilder Vandcrlyn 116 

Hale,  Mrs.  Robert  Lee 

Mrs.  Joseph  Barrcll Copley 11 

Halsey,  R.  T.  H. 

A  Philadelphia  Gentleman St.  Memin 78 

Halsey,  Miss  R.  V. 

Mrs.  Sampson  V.  S.  Wilder Waldo 117 

Hamilton,  Mrs.  Allen  McLane 

Hannah  Seagraves  Reeves Sully 104 

Harrison,  Mrs.  Benjamin 

President  William  Henry  Hairison       ....      Beard 3a 


EARLY    AMERICAN    PAINTINGS 

NAME  SUBJECT  ARTIST  PACE 

Hart,  Chari.es  Henry,  attorney  for 

Mrs.  H.  Gassaway, 

The  Last  Supper Hesselius 34 

Mrs,  Lewis  S.  Jervey, 

George  Washington         Peale,  R 71 

HiNRiCHs,  Frederick  W. 

Alexander  Hamihon Trumbull         no 


Hopkins,  Mrs.  Dunlap 

Moses  Pond Healy 33 

Hughes,  William  S. 

General  John  C.  Fremont Elliott 28 


Ingersoll,  William  H. 

View  of  Rydal  Water Inman 


43 


Jervey,  Mrs.  Lewis  S.  (through  Mr.  C.  H.  Hart,  attorne_v) 

George  Washington Peale,  R 71 

Kane,  Grenville 

George  Washington Pine 75 

KiRBY,  Thomas  E. 

George  Washington Peale,  C.  W 64 

Lanman,  David  H. 

Ralph  Kirkley Trumbull m 


Lansing,  Mrs.  Abraham 

General  Peter  Gansevoort Stuart 85 

Lewis,  John  Frederick 

John  Howard  Payne Eichholtz 27 

President  W.  H.  Harrison Marchant 50 

Levi  Dickson Neagle 57 

Captain  Robert  Allen Peale,  C.  W 60 

General  Henry  Lee Pine 74 

Colonel  Moses  Thomas Vanderlyn 115 

Andrew  Hamilton,  IV Wertmiiller 122 

Mrs.  Andrew  Hamilton Wertmiiller 123 

Portrait  of  the  Artist Wertmuller 124 

Lawrence  Washington Woolaston 128 

Lockwood,  Luke  Vincent 

Jane  Cooper  Sully Sully jo6 


LIST    OV    CONTRIIUTORS 


NAME  SUBJECT 

I.ONG  Island  Hlstorical  Society 

Chief  Justice  John  Marshall 

Lyman,  Frank 

James  Murray 

Edward  Hutchinson  Robbins     ... 

Macbeth,  William 

Mrs.  Joshua  Babcock 

Marshall,  The  Misses 

Johannes  Panet  

Mrs.  Johannes  Panet   ...... 

Meigs,  Miss  Sarah  Throckmorton 

The  Spanish  Mantilla 


Pealc.  R. 


Copley 
Harding 


PAGE 


69 


17 
32 


Blackburn 


Unknown  .Artist 
Unknown  .Artist 


Sullv 


Morgan,  John  Hill 

Death  of  .Major  Pierson 
Theodore  Gourdin 
Charlotte  Tabb 
Emory  Tabb   . 
Elizabeth  Cook 


Morgan,  Mrs.  John  Hill 

Samuel  Myers 

Frances  Peyton  Tabb 


Morgan,  Mrs.  Jamks  I.. 

William  Hill 

Mrs.  William  Hill       .      .      . 


Morgan,  John  Pikrpont 

George  Washington 

.American  Peace  Commissioners,  Treaty  of  1782 

Museum  of  the  Brooklyn  Institute  ( 

Mrs.  Ben  Davis    . 
Robert  Snow- 
Portrait  of  the  .■\rtist 
The  Sketrhtr  (Mademoiselle  Rosina) 
Fanny  Kemble  Butler 
Mrs.  Robert  Lowden 
Colonel  James  Burn  . 
Marquis  dc  La  Fayette  . 
George  Taylor 


'3' 

■32 


105 


Copley 

21 

St.  Memin 

78 

Sharpies 

80 

Sharpies 

80 

Sully 

99 

Stuart 

90 

Unknown  .Artist 

"33 

Pcale,  R.   . 

67 

Peale,  R.    . 

68 

Sharpies 

80 

West 

126 

Arts  and  Sciences 

Copley 

'3 

Dunlap 

■y  T 

Hall      .      . 

30 

Huntington 

36 

Inman 

37 

Iiiman 

40 

Jarvis  .      . 

44 

Morse  . 

53 

Peale,  R 

70 

EARLY    AMERICAN    PAINTINGS 


Museum  of  the  Brooklyn  Institute  of  Arts  and  Sciences 

(Continued) 


NAME  SUBJECT  ARTIST 

Colonel  Isaac  Barre Stuart 

John  Watts,  Sr .      .      Stuart 


Unknown  Gentleman 


Waldo 


8z 
96 
121 


New  York,  the  City  of 

Governor  George  Clinton 


Trumbull 109 


Pierrepont,  Robert  L. 

Hezekiah  B.  Pierrepont Inman 

George  Washington Stuart 


Pierrepont,  Miss 

Peter  Augustus  Jay 


Jarvis 


Pratt,  Herbert  Lee 

The  Constitution  and  the  Guerriere      ...  Birch    . 

The  V\  asp  and  the  Frolic Birch    . 

The  United  State?  and  the  Macedonian  Birch    . 

Death  of  the  Earl  of  Chatham Copley 

Mrs.  Isaac  Holmes Copley 

Daniel  Boone Harding 

President  Martin  Van  Buren Huntington 

Rev.  Henry  Croswell Inman 

Portrait  of  a  Lady Leslie   . 

Susan  W.  Morse,  as  "The  Muse" Morse  . 

Sergeant  .Andrew  Wallace Neagle 

George  Washington Peale,  C.  W 

President  W.  H.  Harrison Peale,  R. 

George  Washington  (Port-hole  typt)     ...  Peale,  R. 

Mrs.  Peter  De  Lancey Pratt 

George  Washington Sharpies 

James  Campbell St.-Memin 

Seth  Hastings St.-Memin 

Captain  John  Chestnut Stuart 

Lady  Frances  Erskine Stuart 

Thomas  B.  Law Stuart 

Mrs.  Thomas  B.  Law Stuart 

President  James  Madison Stuart 

Thomas  McKean Stuart 

Captain  R.  Pearson Stuart 

Colonel  W.  S.  Smith Stuart 

George  Washington  (Vaughn  type)       ....  Stuart 

Captain  William  Chamberlain Sully 

Mrs.  Wm.  Chamberlain Sully     . 

Joseph  A.  Dougan Sully 


4i 
95 


48 


4 

6 

5 

20 

14 
31 
35 
38 
49 
56 
58 
63 
66 
72 
77 
80 
78 
78 
83 
84 
86 

87 
88 
89 
91 
92 
94 
97 
98 
100 


1. 1ST    OK    CONTRIHUTORS 
Prait,  Hkrbhrt  T.ee  (Continued) 

NAMl  SUBJECT  ARTIST  PAGE 

1  hcodorc  Gourdin Sully loi 

President  John  Tyler Sully,  Jr 107 

William  Brown Trumbull 108 

Sortie  from  Ciibraltar Trumbull 114 

Dr.  Enoch  Edwards West 125 

Putnam,  Mrs.  William  A. 

Mrs.  Joseph  Barrell Copley 12 

John  B.  Holmes Copley 15 

Rhode  Island  School  of  Design 

Pamela  Andrews Feke 29 

Rosenthal,  Albert 

Mrs.  Winficld  Scott Diirand 23 

William  Inman Inman 39 

Mrs.  G.  Bell Peale,  C.  W 61 

Colonel  Tench  Tilghman Peale,  C.  W 62 

Sanborn,  Miss  Nancy  M. 

Jonathan  Mountfort Copley 16 

Steele,  William  D. 

William  Steele Waldo 118 

Mrs.  William  Steele Waldo 119 

Verplanck,  William  E. 

Daniel  Crommclin  Verplanck Copley 19 

Governor  De  Witt  Clinton         Jarvis 45 

Washington,  W.  Lanier 

Mary  Ball  Washington Pine 76 

White,  Alfred  T. 

Joseph  Moss  White Waldo 120 

White,  The  Misses 

Governor  George  Clinton Ames 

President  John  Adams Morse 51 

Woolsey,  Professor  T.  S. 

Mrs.  Charles  Jeffery  Smith Earl 24 

Wyatt,  Christopher  B. 

Colonel  William  Croghan Jarvis 46 

Lucy  Clark  Croghan Jarvis 47 


UCLA-Art  Library 

•  ND  236  B791e 


L  006  224  379  5 


b     000  553  835     0 


